Podcasts about costuming

This week, I have the pleasure of having Vivien of FreshFrippery join me on the podcast! I had been following Vivien's Instagram for quite some time and had been astounded by the work she creates.  We start things off by talking about The Lord of the Rings fandom. Vivien and I talk about how she first got into the fandom. We talk about the books and movies, the characters, and what drew her to his particular fandom. Plus, we talk about the costuming. That leads into the perfect segue as we get to explore the ins and outs of costuming. Vivien talks about how she first got into costuming thanks to a chance encounter on her college campus with someone from the Society of Creative Anachronism (SCA). From there, Vivien talks about how she first started crafting and creating costume pieces. We talk about sewing these historical costumes and cosplay, and what skills she's learned along the way. Vivien talks about how she decides on the costume and look she creates. Plus, we talk about the cool costuming and ball events that have been in the spaces for the past several years. She talks about a few of the different events she's attended, and what draws her to specific events. You can find Vivien at: https://www.instagram.com/freshfrippery/ https://www.threads.com/@freshfrippery https://freshfrippery.com/landing_page/ https://www.tiktok.com/@freshfrippery https://www.facebook.com/freshfrippery/    

This week on The Brainy Ballerina Podcast, I'm joined by Janessa Urwin: former professional ballerina, Resident Costume Designer for American Repertory Ballet, and founder of Florimund's, a luxury ballet costume rental company.Janessa shares her unique journey from dancer to designer, giving us a behind-the-scenes look at the world of ballet costuming. We talk about everything from constructing tutus that survive decades of performances to helping dancers feel confident and transformed the moment they step on stage. We also chat about career pivots, creative entrepreneurship, and the many meaningful ways to build a life in ballet beyond performing.Whether you're a dancer, teacher, studio owner, or just love the magic of ballet productions, this episode will give you a peek behind the seams at the passion and work that goes into crafting gorgeous costumes.Key Points in this Episode: How Janessa began learning the art of costume design while still dancing professionally What the costume design process really looks like and the unique challenges of designing for dancers How ballet costumes are built to last and get passed down through generations Practical tips for dancers during costume fittings (what to speak up about!) Why beautiful, well-fitting costumes elevate performance and confidence Founding Florimund's to simplify the costume rental process and make high-quality tutus accessible for everyone!Connect with Florimund's:WEBSITE: florimunds.comINSTAGRAM: instagram.com/florimundsLinks and Resources:1-1 Career Mentoring: book your complimentary career callLet's connect!My WEBSITE: thebrainyballerina.comINSTAGRAM: instagram.com/thebrainyballerinaQuestions/comments? Email me at caitlin@thebrainyballerina.com

Laurent "Lolo" Guinci is a globally recognised costume designer and creative director whose career has become deeply intertwined with the legacy of the Harry Potter franchise. His remarkable journey began in the early 2000s, when he collaborated with award-winning costume designer Jany Temime on Harry Potter and the Prisoner of Azkaban (2004), launching a long-standing creative relationship with Warner Bros. and the Wizarding World. His work spans iconic movie sets, large-scale theme parks, retail experiences, and museum-style exhibits. In this episode, Lolo and I chat about his career with a particular focus on his work with the Harry Potter franchise, including work on the films (from Prisoner of Azkaban through Deathly Hallows Part 2), theme parks (including Epic Universe), and Warner Bros studio tours. You can learn more about Lolo by visiting https://lolo.design/. To plan a trip, be sure to work with KMV Travel.   Get bonus content, ad-free episodes, and more at patreon.com/imaginationskyway.   Tag me and join the conversation below. YouTube: https://www.youtube.com/@imaginationskyway Instagram: www.instagram.com/imaginationskyway Facebook Group (ImagiNation): https://www.facebook.com/groups/imaginationskyway Facebook: www.facebook.com/imaginationskyway TikTok: www.tiktok.com/@imaginationskyway  Threads: https://www.threads.net/@imaginationskyway Twitter: www.twitter.com/skywaypodcast Email: matt@imagineerpodcast.com  How to Support the Show Share the podcast with your friends Rate and review on iTunes - https://itunes.apple.com/us/podcast/the-imagineerpodcasts-podcast/id1244558092 Join our Patreon Group - https://www.patreon.com/imaginationskyway Purchase merchandise - https://www.teepublic.com/stores/imagineer-podcast?ref_id=8929 Enjoy the show!

In this episode, I sit down with Colin Wilkes, the costume designer behind the film adaptation of Emily Henry's People We Meet on Vacation, starring Emily Bader and Tom Blyth. We talk about what it means to feel too much, and how that emotional intensity shows up through clothing, color, and character dynamics. Colin breaks down how wardrobe helps tell a love story, shapes who characters are before they even speak, and quietly mirrors the tension, tenderness, and timing that make this story hit so hard. If you love storytelling details, emotional nuance, and the invisible art behind your favorite films, this one's for you.

Episode Notes Favor the Bold: Odo and the Changeling... ugh. They could not have conveyed Odo's shame and disgust more clearly. Rom's on death row. The fate of the Alpha Quadrant is in... Quark's hands? Damarr is just bad at everything. Morn?! Kira whoops Damarr like he's Worf on TNG. Nog receives a promotion! The heroes so far are Quark, Rom, and Morn. Sisko is tired of running, time to retake DS9. Sacrifice of Angels: The Charge of the not-so-light brigade. Time for a fleet battle. Quark is... not under suspicion? 4D Chess. The comparative morals of exterminatus vs triumphs. Weyoun finally reads Dukat. Costuming choices. The Female Changeling makes some choices. Quark does some shenanigans. Quark does some SHENANIGANS. Odo to a very disappointingly motivated rescue. Space gods to a very dickish rescue. Check out Justen's new project! The Vampire With No Name is a production of Dubious Creatures Press. Check it out at dubiouscreatures.com or on any podcatcher under Dubious Creatures. BabSpace9 is a production of the Okay, So network. Connect with the show at @babylonpod.page Help us keep the lights on via our Patreon! Justen can be found at @justen.babylonpod.page Ana can be found at @ana.babylonpod.page, and also made our show art. Both Ana and Justen can also be found on The Compleat Discography, a Discworld re-read podcast. Jude Vais can be found at @jude.athrabeth.com. His other work can be found at Athrabeth - a Tolkien Podcast and at Garbage of the Five Rings. Clips from the original show remain copyrighted by Paramount Entertainment and are used under the Fair Use doctrine. Music attribution: Original reworking of the Deep Space 9 theme by audioquinn, who stresses that this particular war crime is not their fault. This show is edited and produced by Aaron Olson, who can be found at @aaron.compleatdiscography.page Find out more at http://babylonpod.page

THE ROSES Starring Olivia Coleman and Benedict Cumberbatch is available on Disney Plus beginning this weekend, and as you settle in to watch, enjoy this interview with PC Williams, the brilliant costume designer behind the film. PC shares her creative journey in designing captivating looks for Colman and Cumberbatch. Hear how the costumes evolve alongside the characters, reflecting their descent into madness within the narrative of their tumultuous marriage. Beyond The Roses, in our talk, PC also shares valuable insights for aspiring creatives on navigating the industry, the importance of collaboration, and how to handle meetings that may not feel like the right fit. PC is candid and gives amazing advice about how align with the right job for your career creatively and professionally.00:00 Hello!02:35 PC discusses the effort behind “effortless” looks.09:06 How do you collaborate with talent on the job14:35 Valuable career advice from PC19:42 When you don't get something, do you seek feedback or let it go22:14 PC and her BAFTA win!Watch THE ROSES Get full access to Look Behind The Look at lookbehindthelook.substack.com/subscribe

In this episode of Filmmaker Mixer, we chat with Charlene Akuamoah, the visionary costume designer behind Netflix's new series Bet, a bold live-action adaptation of the manga Kakegurui. Charlene breaks down her process—from custom tartans and exaggerated silhouettes to the high-fashion gala looks that push the show's visual storytelling into overdrive.Discover how she used fashion to signify hierarchy, rebellion, and power, and how anime influenced her bold choices. Whether you're a fan of costume design, manga adaptations, or the drama of elite boarding school politics, this episode is for you.

The 5th season premiere! In Episode 75 we go behind-the-scenes with DOWNTON ABBEY costume designer Anna [Mary Scott] Robbins who reflects on her journey designing costumes for two DOWNTON ABBEY series and the three feature films including the recent and final chapter DOWNTON ABBEY: THE GRAND FINALE.In this conversation, Anna highlights the importance of creating costumes that reflect the characters' shifting roles and status over a decade at Downton Abbey, both upstairs and downstairs. ------TIMESTAMPS0:53 - DOWNTON ABBEY: THE GRAND FINALE synopsis1:27 - Anna Robbins introduction3:06 - Anna Robbin's costume designer' journey8:59 - Downton Abbey art deco style and women's changing role through fashion12:52 - 1920s fashion influences on contemporary designers13:55 - Researching fashion for costume designs17:57 - Collaborative process of the DOWNTON ABBEY production and design teams21:45 - Designing a stand-out tomato red gown for Lady Mary23:09 - Generic Break23:44 - Hats, gloves, and jewelry -- character  is in the details29:13 - Edith and Mary as career women: London style and country estate style32:27 - Designing to reflect upstairs/downstairs hierarchies and generations39:07 - Costuming characters' story arcs (optional addition Daisy's evolution)41:20 - Anna's desired adaptations Chanel biopic, and book adaptation pick - Sarah Winman's Still Life novelTranscripts are available to download from the webpage for this podcast episode. Visit michonbostongroup.com/bostonsistersSUBSCRIBE to HISTORICAL DRAMA WITH THE BOSTON SISTERS® on your favorite podcast platformENJOY past podcasts and bonus episodesSIGN UP for our mailing listSUPPORT this podcast  SHOP THE PODCAST on our affiliate bookstoreBuy us a Coffee! You can support by buying a coffee ☕ here — buymeacoffee.com/historicaldramasistersThank you for listening!

The Farlanders came to post-apocalyptic constuming through some other LARP and costuming worlds, and on today's episode they're sharing their expertise along with some dos and don'ts to make sure you're looking your absolute worst in the wastes. Joining us is special guest co-host Winks of the Scam Bandits. The Farlanders are also sponsoring this Sept's Patch of the Month, so join today at Patreon.com/theapocalypsepost

In conversation with Christian Joy, Costume Designer to Yeah Yeah Yeahs front woman Karen O, on moving to New York in 1998, meeting Karen for the first time, what changed after hearing Yeah Yeah Yeahs first record and seeing their first gig, the Indie Sleaze era as she remembers it, how she became Karen's Costume Designer, the un-coolness back then of an indie band having a stylist, the rawness before social media, taking part in and influencing a subculture, never having a fitting, her creative process and influences, the what's eating Karen O dress, how being anti-establishment bonded their creative partnership, dressing Karen for 20+ years, wardrobe malfunctions, Karen's most iconic looks and so much more

Fantastic Four: First Steps Is this, the 4th attempt at bringing the Marvel Universe‘s “First Family” to the big screen actually as fantastic as it purports to be? Well, we have finally settled on a look and feel that best suits the classic super hero squad: and it’s ‘60s Retro-futurism all the way for one and all!!! It’s a whole new universe of Marvel stories starring Omni-daddy Pedro Pascal, serving C&%t Vanessa Kirby, Joseph “i’m on fire!” Quinn and Ebon Moss Bacharach (or baccarat as Quinny thinks he’s called) as the truly Fantastic Four! In this film we kick of Marvel‘s Phase 6 and usher in a new style and direction of storytelling, but is it actually good?  Listen in and find out! These fantastic four reviewers are here for this one, so it’s all hands on deck as we hit this faster than light! https://youtu.be/ZkJszcpuQwQ A huge shout-out to the fantastic flexible friends and their robot helpers who join in with our moderated live-chat during the Twitch stream, each Tuesday night at 7:30pm AEST. And especially to those who have decided to drop some crushed up planet juice in the tip jar. Thanks for supporting us directly via our Ko-Fi jar and now also by subscribing on Twitch! You ALL rock! If you like what we do, drop us a sub!  Every bit of your support helps us to (hopefully) keep entertaining you and making more emotes! (there may need to be some for the rating system soon!) Don’t fret if you can’t be there for the recording though as you can catch them on Youtube usually later that very night. Make sure to subscribe so you don’t miss them! https://youtu.be/18QQWa5MEcs?si=ZuzrC0i80qHjiz4n https://youtu.be/cLFDV72pa-s?si=VHolgiDlJZWBk0I0 https://youtu.be/_rRoD28-WgU?si=nISYKo7MGY4MpUE9 https://youtu.be/WEhgwDqYqWM?si=Tx-FIPgv23qichZv ERRATA: It seems Quinny’s HERBIE history lesson was incorrect and entirely apocryphal… https://youtube.com/shorts/KHyTOUSk6Rw?si=FCmt1FKY-Grdhs7D   WE WANT YOUR FEEDBACK! Send in voicemails or emails with your opinions on this show (or any others) to info@theperiodictableofawesome.com Please make sure to join our social networks too!  We’re on: Youtube: https://www.youtube.com/user/TPToA/ Twitter: www.twitter.com/TPToA Facebook: www.facebook.com/PeriodicTableOfAwesome Instagram: www.instagram.com/theperiodictableofawesome/   Full text transcript Dion  Ohh hello and welcome to the pairing Table of Awesome. It is time for a foursome of a different kind on today. The Tuesday. What time? What time is it?  Speaker 3  What time is it?  Speaker 6  Blame on us? Yeah, it’s it’s.  Speaker 3  Fun it’s it’s podcasting time.  Dion  Butter in time. Wait, that doesn’t quite work. I don’t know. And right now, Pete, which she was invisible. Yeah. Yeah, well done.  Speaker 6  oh  Speaker 3  Sorry.  Quinny  Very well done. I love the feeling now, really. She’s.  Dion  Hold on. Yeah, yeah, yeah. Embrace hope. She’s yeah, probably. Still there. Can you hear?  Jill  Really gone. Just gone.  Dion  Us in the void.  Peta  I’m invisible. I’m not silent.  Speaker  Yeah. Yes.  Dion  That’s true. They didn’t use that enough in the film. I don’t think they’re just having Sue just kind of being like, what are you guys talking about and freaking people out because, you know, I do, if I were the Invisible Man.  Jill  Yeah, she’s not seen, not heard woman.  Dion  Yeah, not seen, not heard. Wow. Hello. Back after a week. Off. Off. Yeah, yeah. Small, small break.  Quinny  Wow. Hey, I said, everybody feeling enthused and like, upbeat and stuff.  Jill  It was nice. To have a little break to be honest.  Dion  Yeah, yeah, I hate those months with the five Tuesdays. What? What weirdness is that ********? And now? Ohh, it’s it’s gone. You’ve gone all glowy and.  Peta  Yeah, I’ve, I’ve. I’ve smudged the camera so.  Quinny  And ohh well. Yeah, I know. She’s she’s actually doing the exact effect from the movie where it’s just a little.  Jill  Yeah, yeah. The Vaseline lens. Yeah.  Speaker 3  Bit of.  Quinny  Now, now pets. No.  Dion  Can I stretch my hand over here?  Quinny  Pun. Serve absolute can’t with your face while you.  Jill  Do that. Yeah, there it is.  Dion  There you go. Perfect.  Speaker 3  And now I’m going to do some cooking, OK?  Dion  Ohh dear and you know what I hope for everyone. Hello to everyone in the chat mainly for. I hope you all got to do the home.  Speaker  Hey.  Dion  Work.  Jill  Yeah. Did everyone enjoy the movie? I.  Dion  This particular day.  Quinny  Mean I could. See it? Yeah, Tari looks like that. She hasn’t seen it yet. She’s saying that she that please be good. Ohh. Interesting.  Speaker  Oh.  Speaker 6  Ohh.  Dion  Fascinating. What?  Jill  Yeah.  Dion  Look. Yeah, we Fantastic Four has been out since last Thursday. Officially, we saw it last week which? Was quite fun.  Jill  Yeah, there’s even some early screenings on Wednesday for the public.  Dion  Yeah. Yeah, yeah, yeah. It’s out. It’s part of Marvel’s Phase 266.  Quinny  Yep. First film of Save 6. First film of, say Phase 6. God, that’s.  Speaker 6  Dion  Why couldn’t have made it the first film of Phase 4?  Quinny  Because that was quite some time.  Dion  And then it. Would have been. Ago. Right. OK. Look, the fourth attempt at the Fantastic Fours and I I include in that the the 1994. 1. Which was never released except IS is is hovered around. Yes, there was a 1994 one.  Jill  That would make this the 5th 1 then.  Dion  Yeah. No, no, it’s it’s, it’s, I say this as in the fourth go at it because there were two with the same cast. So you have the, yeah.  Speaker 6  Ohh OK.  Dion  What are you talking about? This is. Our fourth thing. We have had, yes, it’s the fourth thing, you know, Michael Chiklis did a great job getting covered in rubber.  Quinny  That is true, Yep.  Peta  Yeah.  Dion  You know, and then you know, we’re up to this one.  Jill  Can’t remember the other guy.  Quinny  That’s gonna get off in the life. And remember who played the thing in Fan 4? Stick. Ohh my.  Dion  God fan 4 stick.  Jill  I know.  Quinny  That was, that’s what it’s called.  Jill  Fan Fant Fant 4 stick.  Quinny  I don’t know, but I I just.  Jill  Yeah, I think that a was in the. Middle not at the start.  Quinny  Ohh OK, I just call it fan 4 stick because it’s it’s easier to say.  Dion  Ohh, that’s right, it’s Jamie Bell.  Quinny  Ohh God that’s.  Dion  Right, you remember.  Speaker 2  Whoops.  Quinny  He was the young.  Dion  Billy Elliot.  Speaker 3  Yes.  Quinny  And and the young, chipper guy out of of the first king or the the King Kong movie that Peter Jackson did.  Dion  And he was also tin tin. But that was who made.  Quinny  It so not really who you would think. Yeah, would fit in a giant thing.  Jill  Memorable.  Dion  That he was the. Thing, yes.  Quinny  And Karina makes a good point, a arresting piece to Julian McMahon, who was the 1st Doctor Doom actually. Sorry, 2nd Doctor Doom.  Speaker  Yeah. Yeah.  Dion  Yes, because there was a doom.  Jill  I did rewatch the 2005 version on the weekend just for a bit of nostalgia. Yeah, I like those trashy ones. They’re great. They’re so campy and stupid.  Speaker  Did you?  Quinny  What did you think of it?  Speaker  Yeah.  Jill  And I look back on them. And I’m like, wow, the simpler times where we did comic book films. And we really, really did make them comic bookie.  Speaker  Yeah, man. Yeah.  Dion  And finally.  Jill  Well, we weren’t going. For all of the realism and stuff.  Quinny  Yeah. And they didn’t have to fit in with some. Gigantic *******. Thing.  Jill  I will tell you practical effects. Thing I don’t know I like. Yeah, CGI 1 is like that, feels like. A cheap cop out.  Quinny  Right. OK. OK. Fine, no suit.  Jill  With balls on it and not put in. Any effort and? Just animate it.  Quinny  You know what?  Dion  Wait, do you mean wait?  Peta  The fine effort.  Jill  Hey, it’s a different kind of effort. I’m like, let’s get our hands dirty and make a ******* stinky suit out of foam expanding. Foam or something like that and. Of course, some lung disease. Let’s get into.  Dion  I’m I’m going to like, I’m just going to take it on part of the actors there. Sometimes I’m just going to be like, yeah, maybe they don’t.  Jill  It.  Quinny  This is Jeff.  Dion  Want that? Maybe they don’t want to spend 16 hours in a makeup chair to to to do. Yeah.  Speaker 6  As a cosplayer, I I would agree, but I would also disagree because I think it would be fun to make it.  Dion  Sure. I mean ultimately it’ll be that great thing of like they make someone do that and then they just go oh.  Quinny  I’m. I’m just.  Dion  We’re just gonna CGI it.  Quinny  Well, The thing is, there was a there was a lot of the thing in this one that was actually practical. Like there’s quite believe it or not, there’s there’s shots that they hired a a pretty big wrestler to be the body for it. So on set. A lot of the time there was a practical suit, dude of roughly the right size. Is.  Jill  So we’re not talking about a guy that’s just standing in there in a green zentai.  Quinny  No, I mean when when they’re doing it with Evan Moss, Baccarat, then he was in the uh, whatever the **** he said. Backup, backup, backtrack.  Dion  Doctor rap. No. Baccarat. That’s a.  Quinny  Alright.  Dion  Game I know.  Quinny  Dion  Know you’re in a casino in Monte. Carlo yes, guys.  Quinny  Anyway, when he was on set, yeah, they they had this entire certain stuff like that. But there were quite a lot of it that was shot any time they needed, like a wide shot and everything. They actually had a dude in a suit with the. Ohh head and everything. Cool. Alright. Yeah, I’ve I’ve seen the the pictures of that, but I’ve also in the chat just put a link to the 1994 one and the thing in that Jill, you would love that one because the the suit actually looks more like the comic book character than any of the others have.  Jill  I love the terrifying dead. Eyes.  Speaker 3  I know.  Dion  I mean, it’s great. It’s yeah, it’s very thingy.  Jill  That’s. Yeah, that’s.  Speaker 6  Look at that thingy over there. That thingy.  Dion  Yeah, that, that, that is definitely something I’d go. What is that thing? If I saw it in a in a thing?  Jill  With that young man with fake grey sideburns.  Quinny  I know, right?  Dion  Yeah. Hey guys. I’m trying hard here, Joe. What?  Quinny  Honestly, if you could find that film. Like this. This is I love this one because my my thing with Fantastic Four it it started with this film because I was one of those ******* nerds who heard that there was a film that got made and was never released. So I then went and hunted.  Speaker  For.  Quinny  It and I, you know, back in the days of VHS trading, got somebody to send me a *******. VHS of this film that had never been released, and I’ve watched it. It’s terrible, but it’s actually got a lot of, like, it’s trying really hard.  Jill  And. Nice.  Quinny  To do all of the things that are fantastic, four movie should do just with no budget. Hmm. So yeah, like it’s got Doctor Doom. It’s got the mole, man. It’s it’s got them all doing their powers. But like Reed, stretchy arms are like pool noodles with a with a *******. A glove on the end.  Jill  I mean that’s still image alone is giving vibes of like 70s Italian Spiderman.  Dion  Yes, got a bit of that. I mean, you’ve gotta. What’s what’s the what’s the the crossover slash league like the Marvel Group, you know, secret wars thing. It’s the 1989 Punisher. Dolph Lundgren. It’s the the Captain America film. It’s the Fantastic Four film.  Quinny  Hmm.  Dion  You know, it’s all of those ones Pre Marvel Universe. Mashed together. And you’re like, what is this strain? ******* place, but we don’t. Here, we’re in a different, strange place this time. We’re in much more budget, some bigger names and some.  Quinny  Yeah.  Dion  Finally, they sort of kind of got people who give a ****. Quinny  Yeah, yeah.  Dion  About doing something fun.  Quinny  Yeah.  Jill  And that’s nice. Surprising what you’re going to accomplish when you put in some time and effort.  Speaker  Yeah, isn’t it?  Dion  Isn’t it’s kind of like oh.  Quinny  And when you? And when you’ve had three goes at it before and gotten it wrong three times. You kind of go. Well, **** it. We’re gonna hold off on this one because, I mean, Fantastic Four has always been seen as Marvel’s first family. Like, you know, they’re they’re one of the very earliest Marvel superhero groups. And you know, we’re what, 40, you know, 39 films in now something.  Speaker 5  Sure.  Dion  More, I don’t know 112 where 112 films in now. That’s how many there are. I I won’t be fact checked.  Quinny  And we’ve, yeah, and now we’ve just introduced the very first Fantastic Four stuff. So yeah, it’s it’s an interesting one. I mean, obviously they were tied up in rights for. A long time.  Dion  But yeah, I mean. Look, it’s fine. We’re just going to ignore the rest of those fan 4 test. Stick, whatever it is.  Quinny  Can’t ignore them.  Dion  We have to stick, then forget stick. That’s what I. Yeah, we’re gonna ignore that.  Quinny  Not. The autistic fans.  Dion  We’re going to, we’re going to ignore that. Michael B Jordan, he’s also Johnny Storm. Yes, I know, right. No, he’s not Killmonger. He’s definitely Johnny storm. We’re also going to ignore that Captain America.  Quinny  Ohh yeah yeah, he was one of them.  Speaker  Yeah.  Jill  Was also Johnny Storm and Captain America.  Dion  Was also. Stone. Yeah. Yes, exactly. We’re going to ignore all of those things and focus very.  Speaker  Yeah.  Dion  Much in Comic Daddy and his family and Pedro Pascal’s not not happy just being space Daddy, Apocalypse Daddy and General General Daddy.  Jill  Yeah. Thanks, daddy.  Dion  Now he’s also comic Daddy.  Quinny  Hmm.  Speaker  Yeah.  Dion  Yeah, along with.  Quinny  Is there anything he can’t, daddy?  Dion  You know what? Hollywood will not let him. Not daddy something. He’s in there now forever. Like. Yeah, he will just. He will just keep doing it until everyone collectively gets sick of him. And I’ll be able to return to an anonymity.  Quinny  Hmm. I just realized it is the summer of Pedro, it’s.  Jill  Summer picture.  Dion  Yeah.  Speaker  Been just realized.  Dion  Multiple summers.  Quinny  It was another ******* attempted Fantastic Four.  Dion  Oh. Have you? Yes, grey tailed.  Quinny  Well, technically. There was another Reed Richards. Ohh John Krasinski but that.  Jill  Yes. Yeah, that’s right.  Dion  That’s in Multiverse of Madness, which is so the. But that’s not the Fantastic Four.  Quinny  Yes, from. Marvel Universe. He’s one of the breeds.  Jill  He was. He’s Mr. fantastic.  Dion  Is he though?  Jill  Yes.  Quinny  He’s Mr. spaghetti by the end of. It but anyway.  Dion  Yeah, like I mean, yeah, that’s just on film, but it it, it wasn’t the Fantastic Four and this is what we want to focus on. It’s about these group of people and. How they’re represented in cinema? Yeah. What you’re not.  Jill  Capturing in the audio is our eye rolls.  Quinny  Massive massive eye roll.  Dion  Come on.  Quinny  Beyond wiping away John Krasinski from the from the entire multiverse of of anything, and we’re all going. No, no, no.  Jill  Yeah, that’s because they don’t. Can’t do a convincing cosplay of John Krasinski’s Mr. Fantastic. You can only do the Pedro.  Dion  No, I cannot.  Jill  Dion  Yeah, yeah, yeah. Yeah, and if you squint, the Ian Crawford one.  Speaker 6  You’re clean shaven for that one.  Quinny  I’ve just had an eye. Yeah, my eyes are not that ******* blind.  Dion  OK, then fine. I’ll go with this one if this. If he’s part of the Fantastic Four Canon, you need to cast the other three members of the Fantastic Four in those universes. Who is it going?  Jill  That’s true. OK. Oh my God. Yeah. Can we come back to this at the?  Dion  No immediate. OK. We’ll give you time. Time. Yeah, time.  Jill  End of the show. We’ll be here for 15.  Dion  Minutes. Yeah. Yeah. So if if if John Krasinski’s Mr. Fantastic and chat go and throw some something we.  Quinny  Man. Need to sleep? Yeah.  Speaker 6  ******* Emily Blunt. I would go. Emily Blunt force.  Jill  Storm.  Quinny  **** yeah. Yep, Yep. You down to?  Dion  That yeah, Karina, just like gonna get to the. Synopsis yet guys.  Speaker  Yeah.  Peta  You know, keep getting pushed.  Speaker  Push.  Speaker 6  Push by the chat. Let’s go.  Speaker 2  Yeah, that’s a wow.  Quinny  I’m being bullied by the test.  Peta  This film about.  Quinny  What is this film about it? No, I’m not gonna. I’m not gonna do the synopsis now because I’ve been told. I have to.  Jill  No. Ohh yes.  Speaker 6  Jesus.  Dion  Christ.  Jill  That sounds like me energy.  Dion  Peta  Settling into that demand avoidance there.  Dion  Come on. Tony, have you got? Have you got some synopsis?  Peta  Yeah.  Quinny  For us it is. I have got a. Synopsis for everyone but Karina.  Peta  To be fair to Karina, it’s been 20 minutes.  Jill  Can you do it in a Brooklyn accent? OK.  Speaker 3  Forced ohh. Forced to balance their roles as heroes with the strength of their family bond, the Fantastic Four must defend Earth from a ravenous space God called Galactus and his enigmatic herald the Silver Surfer. And guess what? It’s clubber and die this.  Quinny  Ohh, cool, that’s it. That’s the whole book. Was an opposite. Trust me, there was an even shorter one.  Speaker  Is that it?  Speaker 6  Yeah. Wow.  Dion  I love sofas, yeah.  Speaker 6  Silvers, soyfer yeah, soyfer.  Dion  Some some more continents and vowels in there that I remember from.  Speaker 3  Hey, I’m going down the street and I’m going to start some some flights. Yeah, yeah, yeah.  Dion  Yeah, that’s about it.  Quinny  Hey, get that man some cookies. Thank you. I.  Dion  Would love some cookies. That’s kind of what the movie is about and I’m, I’m I’m with it like this isn’t one of those films that you went and saw and you’re like, oh, great, we get to have an origin story of how did they get their powers, how did. They do this like how do we go through that? They were like, no, you know what?  Quinny  Ohh thank God.  Jill  Yes, we just got a tidy. Little vignette, and that’s all we needed.  Dion  Yep. Quite a long vignette really explaining like how they fit into the world and how suddenly the the brokers of World Peace and everyone looks up to them and they’re the world’s family.  Quinny  Yep.  Jill  Yeah, I kind of love it.  Dion  I mean, OK.  Jill  They’re. They’re paragons.  Quinny  Yeah. And we, the the important thing to note is that we’re in a different world here we are in. We’re not in the regular Marvel Universe. We are in a weird kind of quasi 60s future pop, yeah, different reality.  Speaker  Mm-hmm.  Speaker 3  It’s.  Dion  It’s 60s futurism, so it’s just it’s there’s a divergent.  Speaker  Hmm.  Dion  From our history to where it has ended up in this Earth history, and I’m I dig it, I dig the style, imagine in the 60s if four people got shot into space and came back and had all these powers and solved a bunch of problems.  Speaker  Hmm.  Dion  And a bunch of other things happen. That’s how that kind of goes. It’s like, yeah, well, you know.  Quinny  Yeah. And the difference.  Speaker  I mean.  Quinny  Not actually stated what year this is, is it?  Dion  No, no, it’s just the different earth.  Quinny  Yeah, right.  Dion  And what that is. But people don’t have.  Jill  Yeah, it could be current day 2. 616 Earth we don’t.  Quinny  Yeah, yeah.  Jill  Know that’s just what this earth.  Dion  Yeah. Looks like there’s big. There’s big kind of LED screens, but no cell phones.  Speaker  Slide.  Peta  Yep, well, it’s kind of like they’ve kind of gone. We don’t need to put energy into making TV screens flat. We’ll just have giant non flat TV screens and faster than light space travel. Yeah, yes. But we’re gonna do with that extra energy.  Dion  There’s there’s like.  Quinny  No.  Dion  You know. Yeah.  Peta  We don’t need to put energy into like inventing MP threes. We’ll just keep records. Yeah, yeah, yeah, yeah. And teleporting.  Dion  Yeah. Yeah, yeah, yeah, yeah.  Peta  Think of what we could have done as humanity.  Quinny  I didn’t know.  Dion  Exactly all of our computerisation goes on tape.  Jill  Yeah, I mean. Yeah, we invented cassettes and then CD’s and then digital format music. And now we’re back to ******* records again.  Quinny  So yeah, but they just didn’t bother leaving the the records. Yeah, because they realized it was the the superior format from the start, especially if you print them in.  Dion  Yes. Gold. And if you haven’t got a troop of players in your lounge room. You know, yeah. Eventually we’ll get to there, won’t we, like? Oh, this is my 9 musicians that follow me around and. Play music to me.  Speaker  Yeah.  Quinny  Yeah. I mean, yeah. Karina and Casper both kind of make the point. It’s very jetsons.  Dion  Yeah. And that’s kind of great because that’s very familiar to the people who knew fantastic for for when they were growing up based on the cartoon, which is the the sort of.  Peta  So jetsons.  Dion  The carry over of where people would sit from the Saturday morning kind of cartoon and. You know it it it sets the tone that everyone could easily get into and I went, I’m here. I immediately know what’s going on. It has a different Marvel logo, it has a different kind of a soundtrack. It’s setting itself in a in a particular period and I was like, I’ll go with this. This is totally different to every ******* thing else. This isn’t a dark and gritty reboot. This isn’t. Anything really to do with the rest of the Marvel Universe? Yeah, kinda. Which makes me happy. And I was like, I’ll go with this. I’m immediately just going to be like, all right, what do you got?  Jill  Yeah. I think the thing that’s so immersive about it is the visual language that they’ve lent into so strongly and so thoroughly like the the set design and production. All the set pieces, the costumes, everything like that was like. Beautiful, like there was such attention to detail and there was not like a wasted moment on screen. It was so interesting that we’re talking about like, how like futuristic retro it is but. Like the. Costuming wasn’t futuristic. That was still like grounded in 60s fashion.  Speaker  Hmm yeah.  Dion  I had a really good time just watching the sets and the costumes. I was like they have actually paid a lot of detail to the costuming, not only of the signature folk, but the people around them too. Looked sharp as ****, I gotta say.  Quinny  And.  Jill  Yeah, like the the space suits and their hero suits were were still like. Grounded within like that 60s, like retro futuristic style, but had like the the strong 60s fashion elements as well in terms of like the textures of the fabrics and things that they used but the the colour theory throughout was fantastic and yeah just the the visual language that they. Used in this film was just so Cohen.  Peta  It’s a joy for. The arts, hmm.  Dion  Joy for the eyes until we get to the failure of the film.  Quinny  Wow. Jesus. OK, so, so just a reminder folks, the deal also sat through Superman and huffed.  Speaker  Go further on.  Dion  I did. I did half. He did half I wanna also. Caveat that I did see Fantastic Four, but beforehand I had.  Speaker 6  So.  Dion  To watch. Beforehand I had to win. The Avatar trailer 17 times. I don’t. I don’t know how to explain that in terms of everything else, but I had to sit through the Avatar trailer. Too many ******* times, and that may have influenced my decision. And how I enjoyed that film slightly too many times.  Jill  Anyway, yeah, it’s almost like they strapped you to that chair and made you watch them 17 times.  Dion  They kind of did. Yeah. You know, because you know, as we all know, in those kind of cinema things, the seats are gold. And if you leave one, you’re done. It’s going coming back but anyway.  Speaker 3  Yeah.  Dion  OK, enough of that. Fantastic for what? What are your first four impressions?  Quinny  I just wanna know why you’re getting ready to throw it.  Speaker 2  Hello.  Quinny  Under the bus. To you ohh.  Speaker 2  No, no.  Quinny  Like there have been a couple of times that you’ve already kind of started. Coming out of. Swinging. I wanna know why the big.  Speaker  There is.  Dion  Rubber punches out. Well, first, I mean, we all hate John Krasinski. And. No, I’m just joking. That’s. Three just threw that out there for.  Peta  Come on for John Krasinski. And he’s not like.  Jill  He can’t even defend himself.  Quinny  He’s such a nice guy. Everybody talking.  Dion  About, I’m talking about how effusively I love the costuming, the design, the aesthetic, the way that it just kind of moves the story along really, really quickly. It throws in some amazing nods and references to the historical stuff, like there’s covers of famous Fantastic Four issues thrown in very quickly. I know you’ve got.  Quinny  Oh my God, that made me so happy.  Dion  Classic villains like Mole Man and the Red Ghost. Yeah. Ish red. Red ghost off.  Speaker 3  Well, sort of.  Dion  Like all of that stuff is kind of great. Herbie is amazing. The fantastic car, which I think often gets ignored. Quinny  Yeah.  Jill  Uh-huh.  Dion  In, in a lot of, this is part of the fun about the Fantastic Four is all of the bits and pieces that Reed comes up with. That’s all kind of themed Herbie, as I said. Yeah. And he was.  Quinny  Great. OK. Does everybody know the history of why Herbie exists?  Jill  No.  Quinny  OK, this is my my favorite stupid piece of ******* history. So in the 60s, when the Fantastic Four was being turned into a cartoon, they went OK we’re going to do the Fantastic Four and the standards people of America went hang on. One of the characters is on fire.  Speaker  Tell.  Quinny  We can’t have a children’s TV show where the children want to emulate the heroes and have a character be on fire. Why not so? In the 60s cartoon of Fantastic Four. Johnny Storm is removed entirely and is replaced by Herbie. This is where Herbie came from. Wow.  Speaker  Oh. Yeah.  Quinny  So the fact that, like the fact that he’s in the movie is ******* hilarious. But his history is even better.  Jill  That’s wild.  Quinny  And I’m pretty sure he actually talked in the animated series, but yeah, and didn’t just make bleeps and.  Speaker 6  Wheels. I like the Droid vibe it was.  Dion  Didn’t. Yeah, it didn’t sound like. Yeah, it didn’t sound like a 60s frickin B.  Speaker  Yeah.  Dion  I just. I just remembered something. Thing when we get this Sue storm into the proper Marvel Universe, she’s going to have to come up against Namor, yes.  Quinny  Hmm.  Dion  And and that’s a lot of that’s a that’s a whole. Jean Grey, Wolverine, Cyclops thing going to happen right there anyway. That’s right.  Jill  That’s something we can work on.  Dion  Later. Yeah, there’s a lot of smart in that one anyway, yeah.  Speaker  Yes.  Quinny  And apparently on on the set all the time, Vanessa Kirby is like, So what? What’s going on with Namal? Pedro’s like, for ***** sake, right?  Dion  Here she knows what’s going on. She gets all the cast members.  Quinny  Mm-hmm.  Speaker 3  Yeah.  Dion  Yeah. Look, I. Had a great time with it, like, you know, really good introductions to quick introductions to characters. Everyone got a little bit of ability to show who they were as characters very rapidly. Like, you didn’t have to pay to. Much there, but I also really appreciated how much they felt like a family and they felt caring and it was showing them in a particular way, which it wasn’t like, oh, these are conflicted people. They don’t know how to, you know, where’s the drama? I mean, the drama isn’t in the family. The drama is external forces. And I think they got that really well because there was a really cool vibe to sort of be like ohh this is, this is cool kind of family like like I I would take children to watch it and be like see, this is how you’re nice to each other. You don’t have to hit each other. You know.  Quinny  Don’t set each other on fire.  Dion  Don’t set each other on fire. Try stop working so hard.  Quinny  Pete Jew talk to me.  Jill  Oh my God. Ohh feels like so long ago but it was only Friday.  Dion  Four days ago that you saw it.  Jill  Ohh my goodness, I really liked the film. I had a good time. I saw it well. I mean, all the things that I said about the costume and set design and all that stuff was just fabulous. I thought like the story pacing was good. Like they they got to the point and they, you know they executed ABC. You know, here’s what’s happening. Here’s our problem. And here’s how we overcome. It, like they did that. UM. I thought the action bats were good. But again, I’m just not getting my **** blown off. Guys. The jet film. We’re back to the **** rating scale. OK0 **** means it was ******* amazing because they blew them both off, but two **** is bad because it doesn’t mean that I didn’t like the movie.  Quinny  Back to. Rating system.  Jill  It just didn’t **** **. Way and it made me start to think that there was something wrong with me. Like am I not finding enjoyment out of these movies anymore? Like is it becoming passe? Is it like over saturation? Like what’s the issue? I think what the issue is is that too many movies. Are just safe. They’re in a safe zone. They do what they do on the box and they do no more than that.  Speaker  Hmm.  Jill  I’m not getting any like thrill, danger, excitement from these movies anymore. It feels really middle of the road and pedestrian and that’s not to say that Fantastic Four was a bad movie. It was a good movie because it did its job, but it didn’t go above and beyond. And become an exceptional film. And I just, I feel that way about Superman as well. That was not exceptional to me, and it just kind of feels like every time we go and see a big blockbuster, I come out like feeling it was it was middling level.  Speaker  Yes.  Quinny  I agree, but I want to keep Pete’s. Take on it? Sure.  Peta  I think it’s very well constructed, beautifully made. Film, I mean, we’ve talked about the production design and the look of it already, which is great. You know, we’ve talked about the the structure which is logical and probably better constructed than Superman. And and I do think it’s funny that I’ve kind of liked the exposition. Free tool here that I hated so much and electric state, same tool, different vibe. It’s it’s easy to get into and you want it to be because there are some plot points that that, that require a very high level of suspension of disbelief. Even for a comic book movie, you know, usually I I I I try to give the the Budweiser and the ********* like. A bit of a break in in certain genres, but I struggled a bit with a couple of the plot points that very much drove some parts of the story. Because it was a bit wibbly wobbly. Sciency want see? Yes. Yeah, like, don’t.  Jill  Get into the proton stream, but get into the proton stream, yeah.  Dion  Yeah, you’re Superman.  Peta  That was and, and I think the issue is I I I get I I have a tendency to get a little bit distracted if I can’t. If that suspension of disbelief gets interrupted, and I think that these particular plot points were distracting enough that even though I was enjoying the film, I still. Got kind of. Kicked out of this story a. Little bit by thinking? Yeah, but Nah.  Quinny  Are these things that need to be talked about in spoilery territory or?  Peta  Ohh, everything needs to be talked about in spoiler territory. It’s it’s just and if they weren’t plotted drivers.  Dion  OK, alright, fair enough.  Peta  It would have felt a little bit different as well, but it it did kind of feel like as well constructed and entertaining and beautiful as the film is. I kind of agree with Jill that you kind of I didn’t personally come out of the end of it going like. **** yeah. Amazing superhero film. It was just kind of like, ohh, that was like really well constructed and good looking and entertaining. And yeah, Pedro.  Quinny  I I have, I agree very much with with everything you guys have said. My biggest problem with it is that. The movie didn’t have its next gear up like all the way through it puddled along at an enjoyable kind of pace. It was doing what was needed, you know, things were kind of getting, you know, you had your action beats and stuff like that. But then when you get to your climax. It doesn’t have the next gear, it can’t shift it back a cog. And really. Go ****. Let’s go. It didn’t have that it, you know, the the climax I kind of was like and oh, OK, right. We’re done. ****. OK. Huh. And that’s. Kind of implementing of the whole film that it’s really well made as as we’ve all said, well made, well shot, lovely costumes, lovely everything.  Jill  Great performances, everybody was on their a game.  Quinny  But nothing that made me go ****. That was a moment. Like, you know, there was nothing. There was no moment like.  Speaker  Yeah.  Quinny  The thors hammer. With that, America, there was no kind of really emotional beat of.  Speaker  Yeah.  Quinny  Vision saying you know that love is just pain. You know, whatever. I can’t even remember the quote. But you know those those those really like deep seated moments that make you go ohh. That got me right in the heart.  Speaker  Hmm.  Peta  Which Thunderbolts did for me, and that, you know, I. I guess if if if you’re going to hold it up against superhero films we’ve seen this year from a.  Speaker  Hmm.  Peta  Is it a good movie?  Speaker  Hmm.  Peta  Mm-hmm. You know, well-rounded perspective, I would still put Thunderbolts ahead of this, regardless of how beautifully. Thought out the world was.  Quinny  Yeah, like there, there were lovely moments and their lovely ideas. I love the idea of the whole world pulling together to go **** we’ve got. Eight months to build something or, you know, and we’re all going to pull in this together and we’re all going to come together over something. It’s a great concept, but it just never felt like it had those that, that personal danger of what we saw in Thunderbolt and. A lot of people who are doing the, which one did you like more, Superman or or fantastic? 4. I personally thought the Superman took more risks. You know, it was weirder. It was.  Peta  Well, it was more. It was more current in in its messaging and the. The risks that it. Was taking in that messaging as well, and I think also you kind of.  Dion  Hmm.  Peta  This is a bit of an imbalance, I suppose in the rate that one escalates because you can kind of attempt to escalate the stakes to the highest possible point and the escalate them so high that the audience cannot believe. That. That jeopardy is going to come to pass in that context, which actually, which actually kind of destroys that moment, is kind of gotta be like a believable, worst case scenario that they’re facing. Not like, well, of course, they’re trying to find a way to avert that. There’s gonna be a little part of you that’s like.  Quinny  Hmm.  Peta  Ohh, they might fail, which I kind.  Speaker  Hmm.  Peta  Of felt in this.  Quinny  Yeah, yeah. Yeah, like.  Peta  Otherwise, you don’t feel the jeopardy, you know, the way that you should.  Speaker  Hmm.  Quinny  Yeah, and and I don’t know, I feel like something like Superman has has more of a an alter kind of vision behind it. Like, you know, that felt like James Gunn saying something and his whole thing about found family and his whole thing about being outsiders and, you know, he. He has a particular thumbprint that is all over that. This one I couldn’t tell you. A thumbprint it was.  Peta  Which is funny because it is tonally and structurally much more consistent.  Quinny  Absolutely.  Jill  Yeah, it’s a. Package. Yeah, it has an aesthetic and it, you know, executes that, but yeah.  Quinny  Yeah. And and like.  Jill  There’s there’s special sauce.  Quinny  Yeah. And and I don’t. Know what it is because. I was wanting to get excited. I was super wanting to get excited and it just never quite hit me. And even when big things happened, I was like.  Jill  Karina made a good point that she thought we were going to see them fail. Based on what we saw in the post credit scene of Thunderbolts and I want to make a point where I kind of wish that that scene never existed because it coloured my expectations.  Speaker  Hmm.  Jill  This film I was going in.  Quinny  Yes, I’m.  Peta  I forget what that scene.  Jill  Was ohh that’s actually it was it was there. There was like ohh we can. We’re picking up something on our radar and then they zoom into space and they see the Fantastic Four ships flying through space and that bit. Yeah. Yeah. So I had a different expectation of what I was expecting in this film. And so I’m like.  Speaker 6  It’s just.  Dion  Just a a rocket ship in the sky. Kind of, or if it is, we don’t know.  Jill  Just on the edge of my seat the whole time, thinking. Well, how are they gonna get to our earth? When are we gonna see that? When are we gonna see that? And. And I’m like, so I wasn’t in the moment with everything else that was happening because I was anticipating something else to.  Quinny  Yeah. Yeah. And and maybe that’s that, that other cog that.  Speaker  Happen.  Quinny  I was expecting. Maybe that’s the the the next thing up is that you know, they do like, fail or they do something that that then took it to a different level.  Speaker  Yeah.  Jill  That causes them to and then this is how we get to this moment. But like now that we’re not going to have The Avengers doomsday film until another 18 months.  Quinny  Jill  I’m like, wow, how are they going to get our butts in the seats for that one?  Quinny  Yeah.  Jill  Because after watching this movie, I’m like. Ah, I don’t really know where we’re going.  Quinny  Neller.  Peta  At the end, do you feel safe now with your opinion to share?  Dion  I mean, my opinion is based on Fantastic Four and how I enjoyed this movie or didn’t.  Quinny  Which is a really difficult thing to do to to take the movie entirely on its own. Yeah, been its own value and.  Speaker 2  What?  Quinny  So aside from my expectation, aside from the other movie I watched a week and a half before, yeah, aside from.  Dion  Yeah.  Quinny  All of that, yeah.  Dion  Look there. This is the thing. Like I I really like to to throw this through. I really enjoyed Thunderbolts because it broke expectations that I had. I was there for it to say, what are you gonna do with this? And I was. Like wow, that is a great movie. I had certain expectations about Superman or I was wondering what was going to go, and I felt it wasn’t as good as I thought. It’s going. And I went to Fantastic Four. Saying how is this going to go? And I thought, yeah, I had a little bit of the same thing the the ending. Thing towards the end and some of the reasoning and stuff I was a bit like oh, this doesn’t make sense and I don’t understand where it does or doesn’t fit and I feel like they’re going to have to for some reason do another one in that universe for some reason. And I’m just a bit confused. I feel like it just kind of didn’t. You’re right, had that. Where’s that gear? Where’s the gear? Range. Where does it go up? Where do the stakes get bigger? Where does it become really important? But really I liked it because it. Was you can see across the entire movie from start to finish. It was a love letter to the time of the original Fantastic Four. Like all of the Kirby, all of the weird stories are just written into it. So it is made with a lot of reverence and a lot of love. And I really liked that because there was good messaging that was in there.  Speaker  Hmm.  Dion  The execution or some of the reasoning is just I don’t know how this fits. In the rest, like I love that it’s an outsider film, but I also don’t then. But what’s are we are we going to follow these people? Is that the point or is it just having a second one? Like I don’t. Know like it’s another Fantastic Four is like.  Quinny  Yeah.  Dion  Will we see him?  Jill  Yeah. Are we making this movie just to make a sequel? Just so we can make? Money.  Quinny  Yeah. Well, or are we making this one just because we needed to have a really good bad guy for the MCU. We’ve already announced who that bad guy. So we really had to have this film before doomsday could happen.  Jill  Yeah. There’s a lot of very upset people in. Our screening at the end of this movie.  Quinny  Yeah, yeah, there was.  Dion  Yeah, Speaking of bad guys, how do we feel about the villain aspects of this one?  Speaker  Hmm.  Jill  I was curious to how I would ever see Galactus executed on film, and I think it. Up to a point, it was well done.  Dion  Is it? Is it better than the giant cloud?  Speaker 6  Ohh yeah, we don’t need.  Dion  So the.  Jill  Some amorphous cloud like I want to see an actual Galactus and like how?  Dion  So.  Jill  Do you do? That I mean, especially after we had the Eternals where, you know, we have things God like beings in space, it’s like, OK, well now how do we make a Galactus?  Speaker  Hmm.  Jill  That was really cool, but then there was a moment where I thought it was. Not cool. Maybe I’ll talk about that in sport.  Dion  How? How did you feel about Charlotte Owl?  Jill  I thought it was sick. I’m like, yeah, let’s go back to the original Silver Surfer. Yeah. People will be surprised to know the original Silver Surfer was not a dude.  Quinny  I I knew that Michelle label was an alternate, but I didn’t realize that. Jill  I think the original Silver Surfer was a woman, and then it was her lover that begged Galactus to trade places with her.  Quinny  Yeah, yeah. Entry.  Dion  Interesting, yeah.  Jill  And disappointed we didn’t get the what if Aunt May was the Herald for Galactus and we didn’t get the golden oldie.  Dion  What are you talking about? Marisa? To me, isn’t that old?  Quinny  I I think.  Speaker 3  No.  Quinny  I think there were there were sequences in there watching the the Silver Surfer surfing through.  Speaker  Ohh.  Quinny  Like Kirby Crackle, ******* cosmic power surfing through black holes where I was like, **** yeah, this is cool. You know, surfing around curving laser beams and ****. I was like.  Dion  Well, grab. Yeah.  Speaker 3  Yes.  Dion  ******* hell yeah, that’s that’s the weird success stuff. That was the bitter.  Speaker  Hmm.  Dion  Was like, oh, this is great. Like, how do you put the Silver Surfer in? Why does it doesn’t even make sense. And it’s like, yeah, it does. If you lean into that. Crazy kind of 60s vibe that it originally was about. It’s like, yeah, I’m just gonna surf, like, through cosmic waves, man, it’s. Like. Cool. That’s fun. Yeah, it helps if you take LSD.  Quinny  Hmm.  Speaker  Yeah.  Dion  You know.  Quinny  Like there was something so ******* cool with all of that visual stuff. Yeah, that up until now, we’ve never really gotten because the only other time we’re seeing the Silver Surfer, he was on Earth, so it didn’t have that real cosmic kind of.  Dion  Maybe. He was the T1000 man.  Jill  Thing, yeah.  Speaker  Hmm.  Dion  He just kind. Of morphed around as needed for the plot.  Quinny  Your thoughts on on the Silver Surfer?  Peta  Neutral. Cool. I I don’t have a lot of feelings about the Silver Surfer as a character, but I thought she was. I thought it it was cool execution.  Dion  Yeah.  Quinny  Hmm. Yeah, look cool. And I like the the human eyes too. I thought that was kind of cool. Yeah, cause you I feel like you still need something to latch onto for a motion, yeah.  Speaker  Mm-hmm.  Quinny  I thought that was smart.  Speaker  And. Look, there’s look.  Dion  There’s lots of fun stuff in there. Standouts for me. I I I need to say I really annoyed that they didn’t rename it the fantastic six because to be honest, there are 6 characters in this movie. By the end of it, you’re watching it like there’s not just four, there’s more. Who you’re following through with, which was a bit of a surprise because I was like, OK, right. You’re just going to lean very heavily into the entire thing. Sure. I really. Kirby, I love that they went into galactic space because that’s kind of that’s that kind of that’s really fun. Like Reed Richards is that kind of character who, you know, is your prototypical 50s, you know, American Americanized painting, you know, of, like, it’s a pipe and slippers and, you know. Dad’s home.  Jill  Yeah. The Norman Rockwell. Yes. Please looking forward.  Dion  Yeah, absolutely. 100% The Rockwell and it it. But presented in that very conservative way, but he’s not a conservative. Like you know, it’s kind of like I’m just going to learn how to fold matter and bend this, and then we’re going to space. All right, everyone, safety third. Let’s go. That’s kind of Reed riches. Like he built a thing called the Ultimate Nullifier. And it kills anything in the known Marvel Universe. And then he’s just like ohh someone.  Quinny  He’s.  Dion  Like.  Speaker  Like.  Dion  ******** Reed, you know like.  Quinny  One thing you you said to me afterwards too.  Jill  Yeah, I mean. He just casually solved teleportation in this.  Dion  Yeah, yeah.  Jill  Film or whatever.  Quinny  Whatever. Whatever one thing you said to me too, and I agreed like they’ve always struggled to get Reed Richards powers looking good on screen. Like it’s very hard to do stretchy guy without it looking dumb, but one of the things that is kind of sad is that in the.  Dion  Yes.  Quinny  The comics and everything. Quite often you’ll see him, and that stretchiness of his body is a. Is. A all about echoing who he’s mentally. Yeah. So his arms are over here. You know, riding on the blackboard and his other arms over here, smoking a pipe and his head is, you know, stretched out over here, looking at the, you know, out the window or something like that. And there wasn’t much of that. It was very much like, this is traditionally handsome Pedro.  Peta  Yeah.  Jill  It’s it’s tiny. Yeah, it’s a tiny bit like he was doing. A little bit of the blackboard. Stuff and the catching things, but.  Speaker 6  Yeah, I don’t.  Jill  I don’t think we really got to see him actually use his powers much in the film as a whole.  Quinny  Nope. Nope.  Dion  It’s very, very expensive to animate Pedro Pascal.  Peta  It’s it’s a dump power.  Speaker 3  Pete. Pete, in there, it’s true.  Jill  I mean, it might be a time you. Would change your mind.  Speaker  Yeah.  Speaker 3  Blubbering time, no.  Quinny  Should we rate it because we are, we’re going on a.  Peta  Yes, yes.  Quinny  Long time. Ohh good.  Jill  Oh my goodness. I don’t know. I’m gonna pick a number.  Dion  How many tips off Jim?  Speaker 6  Yeah, the tip scale. Yeah, yeah, yeah.  Jill  Yeah. The two tip film, but.  Quinny  I mean, I’m gonna. I will change the rating system if I have to, but it’s gonna really.  Dion  I had some I had some issues with it, but I did enjoy. I had a fun time. I’m gonna give it a 75. No 70. I’m gonna go 70. Sorry. I’m. I’m back down a little bit mainly because I really loved.  Quinny  On the website.  Dion  The scenic I love the the the characters together. They didn’t quite mesh as much and I felt like some of them were lost like I think Ben Grimm’s the thing.  Speaker 6  Hmm.  Dion  Totally kind of lost in the hole as much to do. No, I I didn’t get enough of that thing because one of the most important things I know about Ben Grimace, he’s the real heart of the team. And while that was great, like I loved, you know, uncles, you’ve got uncles going on there. I loved it. You know, Johnny and and Ben are totally down for, you know, being uncles. I just thought he got a little bit lost and I have big issues with some of the purple headed warrior of the lactose, which I’ll talk about in spoilers, but yeah, overall fun time. Not a long time.  Quinny  Fair enough, Pete. Number.  Peta  I’m going to say I’m going to say I’m going to say 76 because I do think that it was. Really well put together but. The the I mean I’ll have some stuff to say when we spoil some things. Yeah, I’ll try to keep it brief. Actually, there was one point I think I said to you guys that I’d nearly walked out of there with more tips. Than I started with.  Quinny  I’m still wanting to know how that works.  Peta  Luckily, luckily I I didn’t have to go full rage out on it.  Quinny  So I’m very impressed.  Peta  Umm. But yeah, it’s just those kinds of like those those plot points that that just didn’t quite work for me were just a little bit kind of too conveniently driving the plot. And I didn’t quite buy even in the world of the story, that really kind of helped me back from from. Losing any tips at all?  Quinny  So so number of tips is 2. Hmm but. Peta  Ohh, also the young Kelly’s Uncanny Valley baby was distressed.  Quinny  Though apparently that they had a live baby on set 99% of the time.  Peta  In some shots, I was gonna say you, but you can tell the. Shots that aren’t, yeah.  Dion  Yeah, yeah. Babies don’t look like babies on screen. You gotta pay. They yeah.  Peta  I mean, either it was a fully uncanny valley baby or they were doing something to kind of make the baby look like it was looking, but there was something. Yeah. And whenever whenever Ben Grimm’s holding the baby, it’s like. That ain’t no real.  Jill  Baby, what number did you give it, Pete, 7676.  Dion  Yeah, we all know.  Quinny  And Dion, still at 70, isn’t.  Dion  He. Yes, I’m still there.  Quinny  Yeah, Dan, how many tips have you got left by?  Dion  The way? Yeah, just one tip.  Quinny  Wanted.  Jill  Only go off 1.  Dion  I only want it. Yeah, I mean, well. I mean, I don’t know. It’s moved. Maybe the **** moved like it. It’s not in the same place it started out, but it hasn’t gone completely off. It’s around the side visiting the armpit.  Jill  You can’t. But I gave Superman.  Quinny  I can probably look it up if you want.  Jill  Yeah.  Peta  See, I just kind of take it on a mood basis. It’s on a day by day basis.  Dion  Briefly.  Quinny  Hmm.  Dion  Phil was right. I mean, I think. One of the telling things long rated.  Peta  Never compare my ratings for one movie to another movie.  Quinny  Superman 65.  Speaker  Oh.  Dion  While while Jill is thinking, I mean it’s fair enough. Remember, she only saw it like 4 days ago and it feels like.  Jill  OK, here’s the weird thing though. Like after I watched Superman, I kind of wanted to see it again, but I don’t know if that was to try and enjoy it more or like to get the things that I didn’t really get about it. But this one I’m not really like in a rush to go back. To the movie for it.  Quinny  Hmm.  Jill  But. I did like it more than Superman. Then. I think I’m going to give it. 69.  Speaker 3  Nice.  Dion  Nice.  Jill  It was just a nice movie.  Quinny  Yeah, 69 and still 2 tips.  Peta  Yeah.  Dion  Quinny, what have you.  Quinny  Yeah. Got. I’m very similar to you know, I’m I’m probably I’m probably more in line with the pizza like. Yeah, 70. I’m going to go 77. I don’t know why. Yeah. Actually.  Peta  Just feels like a 77.  Speaker  Vibe.  Quinny  Like I I was a bit more warm on Superman whereas this. Like it’s it’s a perfectly fun, pleasant film. Like there’s nothing wrong with it, but it also just to me, felt like it. Was. Didn’t have much, particularly to say. Other than you know, wouldn’t it be nice if we could all work together and yeah. But also, maybe that’s what we needed at the moment is something that wasn’t too dangerous or whatever and. I don’t know. Yeah, it’s it’s 77 for me, but I just find it so.  Dion  Weird. We’ve, we’ve, we’ve, we’ve focused a lot on the non spoilery side and we’re running rapidly running out of time. So let’s go to the dinner clip to find out why they’re all such a nice blending together, then come back and see how much we. Can jam pack into spoil it section?  Peta  Leave if you haven’t seen it, because I’m going to spoil the very, very, very end of the film.  Speaker  Dion  Pete is thrown down. Here you go, alright?  Speaker 5  What are you doing? You mean what am? I. Doing and then you’re gonna ruin your appetite. I’m hungry, but never late for Sunday dinner. Should we wait?  Speaker  I guess you’re late. What I what do you?  Speaker 5  Mean. What do you mean? What do I mean?  Speaker  You’re late for dinner. Ohh yes we are. We’re late for. By single minute.  Speaker 5  Dinner. Yes, we were just just had to.  Speaker  Some aloe iodine on my shoulder. We got. Do his shoulder and.  Speaker 5  Why is that breakfast cereal in the dinner table? Why are you being?  Speaker  Weird. Not not being. Acting. Weird. Well, I’m doing that weird thing with your face, so. Oh, we don’t know what you’re talking about.  Speaker 5  Are you pregnant?  Speaker  Jimmy at the pregnant.  Speaker 5  Yes, yes.  Speaker  You know, I know he just cannot.  Speaker 1  That have you looked at your husband’s face?  Speaker  Keep his secret.  Speaker 5  What, really, yeah.  Speaker 2  What you are going to be the best mom? Oh, my God.  Speaker  And you are going. To be the best dad. Just kidding. You are out of your depth, but we. We’re going to be the best uncles ever. OK, we should eat.  Dion  Oh, there you go. Yes, that is exactly the kind of thing that we loved about the film. It’s really nice. Spoiler logos up, Pete. Destroy away. Oh, wait. Sorry. She has been there at the beginning. She will be there at the end. We here. Peter.  Quinny  ETA.  Peta  It’s not even my biggest complaint. It’s just that there was a moment at the end where I was like, I am going to have to have another full on rant about killing off female characters via self sacrifice and doing it to two female characters in one scene. UM.  Quinny  Thank God.  Peta  They recovered. They did recover. They recovered from it a bit and it didn’t really feel like it wasn’t going to recover. But for a moment there I was like, oh, oh, we are going to throw down.  Jill  I don’t believe you didn’t realise the magic baby was gonna save the day.  Speaker 3  Sacrifice.  Peta  I did. It did, but there was a part of me that was kind of like you better ******* not.  Dion  Yeah, yeah, there was a little bit of that was it? It’s like, don’t you ******* dare? Jesus Christ, he’s not a. Defibrillator. He’s a baby.  Jill  I mean, you don’t have a. Magic mcguffin. The whole time and then not? Yeah.  Speaker 3  Yeah.  Dion  True, although, but as as we all.  Peta  My biggest my my bigger complaints.  Dion  Know Franklin Richards. The monster.  Peta  My bigger complaints were were the iffy plot points like I’m like, correct me. I’m not a linguist, but I’m pretty sure you cannot translate an entire language with three words like I don’t. I don’t know that that’s possible. The Rosetta Stone had more than than than 3 words.  Speaker 3  Yeah. Hmm.  Dion  Now.  Peta  I I don’t see how I don’t see how.  Dion  Important to understand that this is in the Universe 8 to 8 where things can exist a little differently and they are not this bog standard and it was one of those.  Peta  Oh.  Speaker 6  But it’s it’s.  Jill  Things are like super.  Peta  It’s not the kind of plot point that you can explain away in your brain with that kind of reasoning like it’s not, but.  Dion  It has to be because that’s why I was. I was ******** about it and I yelled at Quinney until it came up to the thing. It’s like, but it’s not the real Galactus. And I’m like. Oh yeah, **** everything in this movie is not the real one from our universe. What? I’m getting angry at can easily be retconned by an executive who doesn’t like the feedback form.  Speaker  Yeah. Yeah, yeah. Yeah.  Jill  But this is also a universe where Reed is a super genius that can solve teleportation and like, move a planet. That’s.  Speaker  Hmm.  Peta  It just like the jump between ohh, I’ve managed to do it to an egg.  Jill  Come on.  Peta  Let’s do it to a planet. Nothing will go wrong. I actually, I almost thought that, like, that’s where it was gonna get interesting. Like, that was gonna be this universe is snap moment when they, like, accidentally. Left half the people behind or something.  Quinny  That that’s what I that’s. What I was kinda hoping for like.  Jill  Yeah, there weren’t really many stakes.  Quinny  No, I ******* love the idea of them actually going *******. We’re gonna teleport the whole planet and.  Dion  And ******* it.  Quinny  Up what? Could something goes wrong like they they go to the wrong place or they find themselves in the ******* negative zone.  Jill  Like that ******* DC convergence where the two planets had to merge together.  Peta  Or and that’s the thing.  Dion  They do. How did they do faster than life travel, but. Not work out how radar. Exists stop the fact that Silver Surfer was coming to blow up all of their teleportation machines that that shaped.  Quinny  Me. She’s very fast.  Peta  And in your hand it just kind of looked like a regular size spaceship. I don’t know why they couldn’t have just muted it or something like it’s like felt like a lot of like ohh The thing is coming very slowly. This is the only thing we can think of.  Dion  That was my big ***** point that I will get my big boy britches on and have a whinge about. Galactus’s ******* world eating ship is just a giant space grinder and. And I didn’t like that because if you’re gonna go to, like the extent that they went to, which was really curvy, whole super 60s kind of thing.  Speaker  Right.  Dion  Make the spaceship ******* weird. Make it the giant machines that don’t. You don’t understand the purpose of what they do like. Have something that’s in there.  Speaker 3  Hmm.  Jill  Yeah. What happened to like the? Big straw that he just shoves in the. Planet and like sucks it up like.  Dion  Yeah, all of that. But I mean, just like have the weird like, Kirby was great for drawing like. Contraptions that you love on the contraption, and they don’t. You don’t know why or how they work, or they have like extra bits that go off and they crackle with energy that you don’t understand how it sort of goes. He didn’t care about making it look well built. He cared about making something cool and stupid. And then they put Galactus. Fair enough, looked pretty good, you know, for a big.  Quinny  I look I. Liked big man collectors. I was down.  Jill  For that, yeah. I didn’t like how his. Height fluctuated with convenience.  Peta  Say he wasn’t that big in the end. Though was he he? He looked.  Jill  The lost, yeah.  Dion  A bit of juice out the back of the tube and then he got a bit.  Quinny  Maybe.  Speaker 6  So then he went and shrunk a bit.  Dion  Yeah. Yeah, yeah. Yeah, yeah, yeah, yeah, yeah.  Quinny  OK, let’s go with that, yeah.  Jill  He’s like ohh, now he can fit in this big circle on the ground that he like, would have Godzilla crushed the moment ago.  Dion  Crush. Sure.  Peta  Confused if planet size or if Godzilla size.  Dion  Yeah. Also how would sue push if 2?  Quinny  Because her push is not based on size, it’s based on willpower.  Dion  No, but push, baby. Ohh no. OK, recover. Push, galactus. Big baby. Oh, no much.  Peta  Is is based on magic mummy power?  Quinny  Yeah, yes, yeah. Like that. That big kind of finale stuff. I was like when he started to climb back out. I was like, ohh. OK now.  Dion  No. Well.  Quinny  We’re gonna get some shoes.  Jill  Yeah, I was like. Oh ****, I jumped.  Quinny  Yeah. Yeah. I was like, ******* sweet. Great. OK, now we’re gonna really ******* now, now we’re gonna wrap it up, but Nope. That’s just that’s it. Cool. Everybody get home. I would love to have seen them do something real. ******* ballsy. I would have loved to have seen them lose the earth, you know? Yeah. So that that’s why this Fantastic Four, like instead of. Yeah, that’s the run like this.  Jill  On the run on the. Sleeper on.  Peta  I’m not sure that Marvel is doing its answer to the trolley problem properly.  Quinny  Why not teleport the ******* baby and the family to another end of the universe, or to a different ******* dimension or whatever?  Jill  Because they answered that in the slack with pocket holes does.  Speaker  Yeah. Yes.  Dion  I mean. I look I I I I really got that like I enjoyed the bit where they were like, no, this is it honestly. Like we we we may be the people that everyone looks up to on the Earth and that’s a bit problematic to put that much. Responsibility. On four people who were there, but at least they always did it with heart, honesty, integrity and overall admission of failure. To the world.  Speaker  Hmm.  Dion

Steve's has an exciting guys weekend of golfing and a Sting concert at Red Rocks. Brandon spends his time driving his kids around.Pieces: Maddie, the daughter of the "Greatest Guy Ever to Live" in some small town in Australia follows in his footsteps to become the town cop. Unfortunately she's in charge of the town's safety when it is ravaged by some mysterious creature. The town kook says it's a Big Red, a killer zombie kangaroo, but our hero thinks he's full of shit. Eventually the evidence is too great to deny, but maybe it's also not a kangaroo, but a dragon-demon-thing. Will Maddie and her posse of lovable Aussie goofballs stop the 'roos reign of terror?Rippy final grade:Steve: Overall it was pretty well-acted. The writing was shitty and never really got you invested in the story or characters. Story wasn't cohesive. Fuckin' shaky cam. 2.467/5.0Brandon: Didn't have the humor element I would have preferred if I had written the thing. Costuming was pretty good, but the overall product was the worst of the non-US movies we've watched. High hopes, disappointed. 2.468/5.0Cocktail of the Week:The Zombaroo1 oz White Rum (allegedly a dry version for the "best" result)1 oz Demerara Rum1/2 oz 151-Proof Rum3 oz A blended mix of passion fruit, lemon juice, and lime juiceAs much ginger beer as it takesA drizzle of fancy-ass GrenadineAdd everything but the ginger beer to a cocktail shaker. Shake to chill and combine, then strain over fresh ice in a Collins glass. Top that with however much ginger beer it takes to fill your glass. Drizzle just a bit of grenadine on top to give a "blood effect."Cocktail Grade: Not a bad drink. Plenty of sweetness, if that's your thing. Would be better if I would stop being lazy and just get some regular white rum instead of using this agricole stuff. However, with the alcohol content, it will get you where you're going. 3.1/5.0------------------Contact us with feedback or cocktail/movie recommendations to:boozeandbmovies@gmail.comX: @boozeandbmoviesInstagram: @boozeandbmoviesThreads: @boozeandbmovieswww.facebook.com/boozeandbmovies

Ann Foley is the costume designer behind the grounded and detailed wardrobes of the hit show The Last of Us. In this episode, Foley (whose extensive career also includes work on Marvel's Agents of S.H.I.E.L.D. and She Hulk) sits down with Who What Wear Senior Fashion and Social Media Editor Tara Gonzalez to discuss the costume design process for The Last of Us season 2. Foley shares the journey of developing character-driven styles, the inspiration behind the apocalyptic fashion and how it reflected the different environments, and the subtle styling changes that marked character growth after a five-year time jump. She reveals the challenges of costuming an apocalyptic world, why The Last of Us is technically a period piece, the significance of specific items like Joel's jacket and Ellie's Converse, and the collaborative process with actors and showrunners that brought the characters to life.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ann Foley is the costume designer behind the grounded and detailed wardrobes of the hit show The Last of Us. In this episode, Foley (whose extensive career also includes work on Marvel's Agents of S.H.I.E.L.D. and She Hulk) sits down with Who What Wear Senior Fashion and Social Media Editor Tara Gonzalez to discuss the costume design process for The Last of Us season 2. Foley shares the journey of developing character-driven styles, the inspiration behind the apocalyptic fashion and how it reflected the different environments, and the subtle styling changes that marked character growth after a five-year time jump. She reveals the challenges of costuming an apocalyptic world, why The Last of Us is technically a period piece, the significance of specific items like Joel's jacket and Ellie's Converse, and the collaborative process with actors and showrunners that brought the characters to life.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Lauren's guest today is Leah Chernikoff, Harper's Bazaar executive editor and co-host of the podcast, The Good Buy. They have a lot to cover: the controversy around the first-look images of actress Sarah Pidgeon playing Carolyn Bessette-Kennedy in Ryan Murphy's An American Love Story; Brad Pitt's fashion makeover involving velvet and tie-dye; news that Dôen raised some serious money; the death of beauty industry legend/pioneer/all-around great guy Leonard Lauder; and a fashion review of Materialists, the Celine Song movie starring Dakota Johnson, Pedro Pascal, and Chris Evans. Dakota Johnson Materialists DressCream silk blouseGod's True CashmereDôen DelicatesDôen ShoesDôen Milkmaid DressNaturium To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

We recently got a request to make LED sequins with bright UV LEDs for costuming projects using UV-reactive paints and textiles. Also known as 'blacklight' paint or fabric, these dyes glow fluorescent when exposed to UV light.

How do you tell a story through fabric, color, and silhouette? In this episode, we sit down with acclaimed costume designer Ruka Johnson, who brings visual depth and raw authenticity to the HBO series Get Millie Black. From Kingston's heat to London's chill, Ruka reveals how her costume designs reflect Millie's emotional journey, the cultural duality of the Caribbean diaspora, and the show's noir sensibility.We explore the psychology of wardrobe, how collaboration with directors and actors brings characters to life, and why costume design is a critical storytelling tool in film and television. With credits spanning fashion editorials, music videos, and prestige TV, Ruka's insight is a masterclass in visual storytelling.Whether you're a filmmaker, fashion enthusiast, or fan of Get Millie Black, this conversation offers a powerful look behind the seams of one of the most visually dynamic new series on television.

What makes a costume truly work for acro dancers? In this episode, host Loren Dermody talks with Lorianne Hagan and Claudia Reed, two seasoned professionals with deep roots in both dance and costuming, about the evolving world of acro and contemporary dancewear. They share their personal journeys, discuss how industry trends and teacher feedback are shaping costume design, and offer practical advice for choosing costumes that support both movement and storytelling. Whether you're a studio owner or a teacher, you'll find fresh perspectives on helping your dancers feel comfortable, confident, and creative on stage. Tune in for an honest, expert look at the challenges and opportunities in dance costuming today with tips you can use for your next show or recital! Lorianne Hagan Lorianne Hagan is a respected dance educator, choreographer, and industry professional with decades of experience in dance, acrobatics, and acrobatic gymnastics. She holds a BFA in Dance from Webster University and trained in New York City at Broadway Dance Center and Steps on Broadway. Her career has included performing and directing for Circo Magnifico, teaching at Webster University for 14 years, and as a Studio Director for MJ Performing Arts Academy in St. Louis. Lorianne's students have gone on to Broadway, national tours, and regional theaters like The Muny and Stages St. Louis. She has been recognized in Dance Teacher Magazine, named Region 4 USA Gymnastics Coach of the Year, and nominated for the William T. Kemper Award. A former board member of Dance Masters of America, she now serves as Senior Sales Manager at Weissman, where she combines her deep industry knowledge with a passion for supporting performance creators. Claudia Reed Claudia Reed is a senior marketing and business leader with 35 years of experience in fashion retail, branding, and customer strategy—all centered around growing purpose-driven businesses and nurturing creative communities. For nearly 20 years, she has brought that expertise to the dance industry through her work at Weissman, a leading global costume and dancewear company. Throughout her tenure, Claudia has played a key role in evolving the Weissman brand and building out functions across the company—from marketing, ecommerce, and creative—all with a focus on ensuring customers take center stage. In her current role as Senior Vice President of Sales, she is especially passionate about listening to studio owners, amplifying their voices, and helping dance businesses grow through customer-focused strategies that blend creativity with data-driven insights. Find out more: www.weissmans.com If you'd like more amazing content more tips and ideas check out our Acrobatic Arts Channel on YouTube. Subscribe Now! Connect with Acrobatic Arts on your favourite social media platform: Instagram: https://www.instagram.com/acrobaticarts/ Facebook: https://www.facebook.com/Acroarts Twitter: https://twitter.com/acrobatic_arts/ Learn more and register for our programs at AcrobaticArts.com

Welcome aboard our Safe Space Ship!   Ariana Perry will be hosting this completely spoiled, totally unofficial, deep dive into Our Flag Means Death every Tuesday!   This week I'm talking to Sami Kelsh about Costuming!    Episode Mentions:  Never Left Pateron whatthefoucault on Ao3 Sami's YouTube Channel   Don't forget to follow us on social media (@NeverLeftPodcast on BlueSky, @NeverLeftPod on Twitter, NeverLeftPodcast on Ig, Never Left on FB), and check out our Pateron.. The links are in our linktree!  Feel free to contact us at neverleftofmd@gmail.com with any thoughts or questions   Please remember to #DontStreamOnMax and #FireDavidZaslav If you want you can also let Netflix, Amazon Prime and Apple + know that you would still love to see Our Flag Means Death on their platforms. #SaveOFMD #AdoptOurCrew   Our artwork was created by Amy Gleason, you can see more of her art @AmysBirdHouse on instagram and in the comic series Mighty Mascots.   Our theme music is Gnossienne 5 by Erik Satie, preformed by La Pianista   Image Description: A lighthouse stands above the inn, wrapped in a purple Kraken tentacle. The text reads "Never Left: Our Flag Means Death"  

In this special bonus episode of Filmmaker Mixer, we sit down with acclaimed production designer Elisabeth Vastola to discuss her hauntingly immersive work on the new Prime Video series The Bondsman, starring Kevin Bacon. Vastola, known for her atmospheric design on Jessica Jones and The Punisher, dives into how she crafted a gritty, otherworldly aesthetic that brings this devilishly supernatural Western to life. From working with demonic lore to musical grit, hear how her vision shaped one of the most visually striking shows of the year.

Ready to hear about the fastest, wildest, craziest costume design job?  This episodes gives you an exclusive behind-the-scenes look of how the costumes for Dancing With The Stars comes together! Daniela and Steven discuss with Catherine how in-depth and wild the ride is to build the costumes for the dancers without knowing the choreography or exactly what is going to happen. Hear how they have learned to 'see colors' now by just listening to the music. The 1000's of hours of work that get pressed into 4 days is astounding as you listen to this episode.  You won't leave this episode and not be in agreement that creating costumes for Dancing With The Stars is truly the "Amazing Race of Costuming" Watch more episodes on youtube: @voiceofcostume The “Voice of Costume” is the first podcast created between working costume designers sharing stories, inspiration, struggles, and insights into the creative career of costume design. A behind-the-scenes podcast to showcase the voices of Costume Designers around the world. Listen in on this inspirational, one-on-one conversation between  Daniela Gschwendtner, Steven Lee and Catherine Baumgardner. Audio available wherever you get podcasts. https://voiceofcostume.com/

At its best, rock is a transcendent experience, something that takes us somewhere away from the ordinary, the normal, and the safe…there's a huge fantasy element to it…done right, rock removes us from this universe and transports us someplace completely different where anything could happen—at least for a little while. Sometimes the music alone is enough to take us there…but there's so much more that can be done to enhance the experience. Costuming, for one…make-up and wild hair make a nice addition…how about going hard on the visuals and theatrics?...sure!...why not?...can't hurt…how about dropping in some sci-fi…good…what about sex and horror and shock and the occult and then really, really exaggerate everything?... Bring it on.  And you know what else might be fun?...a big dollop of sexual ambiguity…that'll freak people out. What I've just described is a lot of today's music…the rock era has been around long enough and has gone through so many bouts of extremism that it seems like there's we can't be shocked by anything a rock star does anymore. But there was a time in the very late 60s and early 70s when a specific group of artists were very shocking…they did and said things that were so outrageous and wild that they kinda knocked the planet around on its axis a little bit. They also set in motion some knock-on effects that changed everything about rock…and then they became extinct…but the influence and fallout from that four or five-year period is still being seen and felt today…you just have to know where to look. This is the surprising history of glam rock…it still lives and it can still make things very interesting. Learn more about your ad choices. Visit megaphone.fm/adchoices

We interview Christine Millar, aka Sewstine! She talks to us about her stunning historical costumes, from drafting the patterns to designing and machine embroidering the sumptuous fabrics.  Show Notes

This week, we spoke with Marie Bernadette, a cosplayer who loves making costumes based on characters from Star Wars: The High Republic. You can find Marie Bernadette on Instagram ⁠@sewmuchlife⁠ and on TikTok ⁠@sewmuchlife_cosplay⁠. We're always looking for more guests to tell us about the things you love, so please reach out through our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠podcast guest submission form⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! You can also follow us @throuthewindow on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠Bluesky⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tumblr ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠to stay up-to-date on our projects, and don't forget to use #LoveThisThingCast to tell us about the things you love!

Weebs… and the people who hate them. Japan has always had a distinctive relationship with the West. But ever since it broke out on the global stage with its “gross national cool” - distributing an array of films, shows, video games, and toys the world over, Westerners have taken on a particular fascination with the country. To the point that an entire Western subculture has formed around an interest… or rather obsession, with all things Japanese. In this episode, Hannah and Maia track how the weeb was born - from the radical DIY origins of manga and otaku, to the fedora-wearing white Redditors of today who hump h*ntai body pillows. But the question remains: Is a weeb a person who simply attends anime conventions and enjoys a vast knowledge of Japan, or a gooner with a Japan fetish? OR does this binary really exist at all? Listen to find out.  Get a whole month of great cinema FREE: mubi.com/rehash Support us on Patreon and get juicy bonus content: ⁠https://www.patreon.com/rehashpodcast⁠ Intro and outro song by our talented friend Ian Mills: ⁠https://linktr.ee/ianmillsmusic SOURCES: Anne Allison, “The Japan Fad in Global Youth Culture and Millennial Capitalism,” Mechademia. 1, Emerging worlds of anime and manga, (2006). Hannah Ewens, We Asked J-Culture Fans to Defend Being ‘Weeaboos'” Vice (2017). Fandom Unbound: Otaku Culture in a Connected World, ed. Mizuko Ito and Daisuke Okabe, Yale University Press (2012). Sharon Kinsella, “Japanese Subculture in the 1990s: Otaku and the Amateur Manga Movement,” The Journal of Japanese Studies, Vol. 24, No. 2 (1998). Andrew Leonard, “Heads Up, Mickey,” Wired (1995). Susan Napier, “The World of Anime Fandom in America” Mechademia: Second Arc, Vol. 1, (2006). Joseph Tobin, Pikachu's Global Adventure: The Rise and Fall of Pokemon, Duke University Press (2004). Theresa Winge, “Costuming the Imagination: Origins of Anime and Manga Cosplay,” Mechademia: Second Arc, Vol. 1, Emerging Worlds of Anime and Manga (2006).

Could this be their favorite film of the year? Olivia and Emily reflect on how this film resonates with their own experiences and the importance of personal storytelling in cinema. In this conversation, Olivia and Emily delve into the themes of authenticity in character portrayal, the immigrant experience, the role of side characters, as well as the costuming, sound, and cinematography choices. They explore the mental health aspects presented in the narrative, emphasizing the importance of honest storytelling. The conversation concludes with reflections on family dynamics and cultural identity, particularly in the context of Polish-American experiences.A Real Pain was directed and written by Jesse Eisenberg, also starring Kieren Culkin and was released November 1, 2024. Chapters00:00 Introduction and Setting the Scene02:48 First Impressions of 'A Real Pain'10:09 Character Dynamics and Acting Excellence15:18 Costuming and Character Development18:57 The Role of Side Characters25:00 Cultural Heritage and Personal Connection29:28 The Immigrant Experience and Family Ties31:52 Guess That Line32:08 Mental Health Conversations in Film41:09 Cinematography and Sound Design48:52 Reflections on Family and Cultural IdentityJump into the conversation: Instagram: @sistersandthestarsYoutube: Sisters and the StarsEmail: sistersandthestars@gmail.com

4.00pm on Saturday 30th November on the Cosplay Central stage saw Mark Newbold host the Costuming Across The Galaxy panel which welcomed Michael Cullen (UKG), Mark Mulcaster (you might have heard of him, Rebel Legion Elstree Base) and Wayne Marper (Mando Mercs Vok'Chi Clan) to the stage to discuss costuming, their individual groups, their fundraising efforts and plenty more besides on this very special episode of Making Tracks from MCM Birmingham Comic Con 2024. Remember to tune in to Good Morning Tatooine, LIVE Sunday evenings at 9.00pm UK, 4.00pm Eastern and 1.00pm Pacific on Facebook, YouTube, X, Instagram and Twitch and check out our Fantha Tracks Radio Friday Night Rotation every Friday at 7.00pm UK for new episodes of The Fantha From Down Under, Planet Leia, Desert Planet Discs, Start Your Engines, Collecting Tracks, Canon Fodder and special episodes of Making Tracks, and every Tuesday at 7.00pm UK time for your weekly episode of Making Tracks. You can contact any of our shows and send in your listeners questions by emailing radio@fanthatracks.com or comment on our social media feeds: https://www.youtube.com/@FanthaTracksTV/ https://links.fanthatracks.com/ https://link.chtbl.com/fanthatracksradio www.instagram.com/fanthatracks www.facebook.com/FanthaTracks www.twitter.com/FanthaTracks www.pinterest.co.uk/fanthatracks/ www.fanthatracks.tumblr.com/ www.tiktok.com/@fanthatracks www.twitch.tv/fanthatracks www.threads.net/@FanthaTracks

Cozy up with some comforting (to us, at least) films that fit a vague autumnal theme! We know we are in need of some comfort right now, so we hope our podcast can be a little escape from reality for you too. Costuming has always been a field that welcomes people who have felt othered, and that extends to our podcast. We are leading with love and acceptance. You are welcome here with us.Follow along with the visual analysis via these links!Sherlock Holmes: Instagram, Pinterest The Goonies: Instagram, Pinterest Questions? Comments? Suggestions for future episodes? Email thecostumeplot@gmail.com. Follow us: Jojo Siu on IG @jojosiucostumes Sarah Timm on IG @breathcue, on Twitter @SarahTSews The Costume Plot on Youtube, Instagram, and Twitter

Join Anne for a chat with knitwear designer Joanna Hunter! Grab your knitting and listen as Joanna shares her design process and experiences in the world of high fashion, film, and local commerce.  Links to Things Mentioned in This Episode #Wovember2024 posting prompts LoveWovember Marketplace 1917 is currently streaming on Amazon Prime in the US, if you would like to see Joanna's scarves and wristlets! Ninian's website, Instagram, and Facebook Purl Together YouTube Channel

Catalyst is a Creative Industries podcast, from Chapman University. Each episode features Chapman students who have completed a Podcasting course through the Center for Creative and Cultural Industries at the university. Students who had no podcasting experience or technical ability in the genre before taking the course were able to contribute all the segments to Catalyst this season with the goal being that they will take this ‘hands-on' experience and carry it over to the launching of their very own series. Each episode of Season 12 will feature one to two different interviews conducted by CCI students, exploring different aspects of the Creative and Cultural Industries. Our episode of Catalyst starts this week with an interview of Jenny Pershon, a live performance technician specializing in audio and video effects. Jennings Gibbs-Barger talks to Pershon about her career from her beginnings where she worked at such theme parks as Disneyland and Knott's Berry Farm as a tech behind the scenes at some of their live performance shows. They discuss how Pershon now works as a freelance contracted live technician, specializing in audio and video effects, for live immersive experiences. Pershon talks about the differences in working for a company like Disney versus working as a freelance contractor as well as the advantages and disadvantages to both. They also talk about what the day to day looks like for her now as a freelance technician and discuss where they think the future of live immersive experiences is headed. The second episode of the week features Nathan Slevcove's interview with McKenna Madison, an Intern with the Disney Company in the area of Costuming. The segment starts off with the pair talking about McKenna's overall job as a seamstress, which then leads into a more in-depth account of the role she plays.  Madison elaborates on her duties as a seamstress, which include such tasks as repairing costuming of the Disneyland Park mascots, maintaining the specialized animatronic costumes, or simply mending the thousands of thousands of pounds of fabric pieces that exist in the park as part of normal operations.  McKenna, although describing it as a rigorous challenge, describes how she takes it on with a smile, and they conclude the interview with her hopes of moving up to becoming a costume designer.

runDisney Costume Magic with Mike Berceli In this episode of the  '3, 2, 1, Go,' Podcast hosts John Pelkey and Carissa Galloway dive into fascinating conversations, focusing on Mike Berceli, a top costume creator for runDisney events. Mike shares insights into the creative and logistical challenges of crafting memorable costumes, including his innovative and legendary Pixar lamp costume. He also talks about the inspirations and motivations behind his journey, highlighting his running history and memorable Disney experiences. Additionally, Mike offers valuable advice for aspiring costume creators and emphasizes the importance of selecting costumes appropriate for varying weather conditions. The episode also explores Mike and his wife Mindy's collaborative efforts in costume crafting and their shared passion for Disney and running. Furthermore, Carissa reveals a new nutrition course, 'Run Like Magic,' aimed to educate runners on sports nutrition specifically tailored for runDisney events. The podcast closes with listener emails, special shout-outs, and a promise for future content on history lessons from John. 00:00 Welcome to 3, 2, 1, Go! 00:17 Introducing Mike Berceli: runDisney's Top Costume Creator 00:57 Patreon and Community Announcements 01:56 Mike Berveli's Journey to runDisney 03:14 From Disney Casuals to runDisney Enthusiasts 05:48 The Evolution of Costuming in runDisney 06:19 The First runDisney Experience 10:53 The Competitive Spirit of Costuming 14:36 Challenges and Tips for Running in Costume 18:32 Nightmare Before Kissmas: A Unique Collaboration 24:57 Favorite Costumes and Memorable Moments 36:43 The Art of Disney Costumes 37:42 Disneyland Halloween Highlights 39:28 Couple's Costumes and Creative Collaborations 42:18 Running Goals and Marathon Memories 47:55 Rapid Fire Questions and Fun Facts 51:59 Motivation and Inspiration in Running 58:54 Nutrition Tips for runDisney Events 01:01:04 Listener Mail and History Lessons Let Registered Dietitian Carissa Galloway lead you through a science-backed plan to transform the way you think about your diet. Visit www.GallowayCourse.com and use the code PODCAST at checkout for a great discount! Become a 321 Go! Supporter. First Supporter Virtual Happy Hour October 3rd! Help us continue to create! HERE New Apparel!! Wear your support for 321 Go! Join Chris Twiggs in Galloway Customized Training 20% off! Follow us! @321GoPodcast @carissa_gway @pelkman19 Email us 321GoPodcast@gmail.com Order Carissa's New Book - Run Walk Eat Let Sara Akers with RunsOnMagic plan your next runDisney weekend! IG @runsonmagic or you can go to www.RUNSONMAGIC.com or email her runsonmagictravel@gmail.com Use Promo Code 321GO

Anne Mueller sits down with Ballet Idaho Costume Director Keri Fitch to talk about the specialized work that goes into costuming our dancers. --- Support this podcast: https://podcasters.spotify.com/pod/show/ballet-idaho/support

Welcome back to the final two episodes of S2 UNLEASH THE D, the hit primer series critics are saying serves major [REDACTED VAGINAL TERM].  It's post-season of House of the Dragon. Seamstress, costumer, and all around brilliant mind Meghan (Birdie Dee Costuming) has joined us to talk about everything costuming in the world of Westeros. Let us take you on color journeys, talk about who wore it best, and discuss both real-world and Westeros-world influences. We have released a PATREON EXCLUSIVE video version of this episode that includes visual aids to help you better follow the conversation. We highly recommend checking that out over at: https://www.patreon.com/posts/unleash-d-s2e4-111408996 A special thank you to our patrons at patreon.com/girlsgonecanon for sponsoring every episode that we produce. You can check out several other visuals below, as well as find Meghan's costuming online at........ Costuming by Meghan Instagram X (formerly Twitter) Chloe's Costuming Found around the internet in an unorganized fashion, also at Chloeandthehawk DeviantArt Screenshots from HBO Series Game of Thrones House of the Dragon (Various episodes and scenes) Rosalia Culora Hair, Wigs, Hairpieces Instagram Stephanie Miles Headwear, Hats, Tiaras Instagram Claire Kitchener Embroidery Instagram Game of Thrones Embroidery Michele Carragher Embroidery House of the Dragon Costumes Season One Jany Temime House of the Dragon Costumes Season Two Caroline McCall French Meadows 18th Century Stays The Dreamtress Textile School Hand Stitch Types Hellosewing.com Mindy Makes The Graphics Fairy Regency Dresses Makeup FX Hand Knotting Wigs YouTube Video Fashion Through Herstory “A Green Medieval Cote” Website The Consolation of Philosophy Philosophy Presenting the Seven Liberal Arts to Boethius (Manuscript) Treasury.com Dreamfyre Art by Sanrixian Sanrixian Threadless

Can the Aeronauts decide who has the best non-skintight costume? Who is The Spider? Email us your questions at wordballoonspod@gmail.com

Our old shipmate Hannah Haverkamp returns to regale us with the historical inspiration behind the costumes of The Terror! For all your age of sail, nautical, polar exploration, Victorian, historical-fiction-with-a-supernatural-twist needs. Featuring Royal Navy uniforms (and their lack of uniformity), Inuit engineering, and the thematic tragedy of Carnivale. Hannah's Sources Parks Canada "Dressing For Arctic Expedition" Terror Camp 2022 Keynote: Annie Symon (Costume Designer) Terror Camp 2021 Panel D - Costuming: Alexa Figuerres (Uniforms and Undress), and Kit Barton (Carnivale) "Tales of the Doomed Franklin Expedition Long Ignored the Inuit Side, But “The Terror” Flips the Script" - Kat Eschner, for Smithsonian DRESSED TO KILL: BRITISH NAVAL UNIFORM, MASCULINITY, AND CONTEMPORARY FASHIONS 1748-1857 – Amy Miller THE ROYAL NAVY 1790-1970 – Robert Wilkinson-Latham HOW TO READ A SUIT – Lydia Edwards Ken's Sources Erebus by Michael Palin Terrorspotting by Tealin on tumblr every post collected under our Terror tag on tumblr Dee's Sources ‘Our ancestors returned home': How a Chilkat robe made its way back to Southeast Alaska by Tripp J Crouse, KTOO watching the ding-danged show The Terror (2018) season one on AMC

This time I'm joined by cosplayers Gin and Matt of Jackal Costuming to talk about furries, making epic costumes, and Bloomburrow!  Casual Magic is brought to you by Quiver, Archidekt, and my patrons at Patreon.com/ShivamB!

We are now on YouTube!   https://www.youtube.com/@VoiceOfCostume Go there and comment on what you enjoyed most about this episode. The “Voice of Costume” is the first podcast created between working costume designers sharing stories, inspiration, struggles, and insights into the creative career of costume design. A behind-the-scenes podcast to showcase the voices of Costume Designers around the world. Listen in on this inspirational, one-on-one conversation between Leila Heise and Catherine Baumgardner. Audio available wherever you get podcasts. https://voiceofcostume.com/ Topics Covered: Growing up as an actor  How a dislocated knee changed the course of her life 1st paid costume design job From stage to TV in Dallas Getting attached to The Chosen as costume designer Coming onto The Chosen mid-season one Growth from a 5 person crew Use of color in The Chosen costumes Jesus and the Blue Sash Research. Research. Research. Distinguishing the Sanhedrin Finding research at an estate sale Jewelry as the icing Costuming the 5000 Shopping LA fashion district Inspiration comes from anywhere Nonstop building Advice to live by Listening to the actors when designing Film can watch over and over again Place to travel The impact of The Chosen around the world

Disneyland cast members are chanting "Shut It Down!" and intend to strike if their demands aren't met. Could Disneyland get shut down again soon? From KTLA 5... The unions involved are the Bakery, Confectionery, Tobacco Workers and Grain Millers Local 83, the Service Employees International Union-United Service Workers West, the Teamsters Local 495 and the United Food and Commercial Workers Local 324. “Negotiations between Disneyland Resort and Master Services Council — which represents four major unions and nearly 14,000 cast members at Disneyland Resort including: Attractions, Candy Makers, Costuming, Custodial, Main Entrance, Parking, Resort Transportation, Store Operations, Team Centers, and Anaheim Distribution Center — began in late April 2024 with continued conversations taking place throughout the last few months. The official Disneyland Park Master Services Council contract expired on June 16, with Master Services Council declining to enter into a contract extension,” Disneyland Resort officials previously told KTLA in a statement. “We respect and value our cast members and recognize the important role they play in creating happiness for our guests. With the next meeting scheduled for July 22, we remain committed to continuing discussions and to reaching an agreement with the Master Services Council that focuses on what matters most to our current cast members, helps us attract new cast, and positions Disneyland Resort for growth and the creation of more jobs.” ➡️ Tip Jar and Fan Support: http://ClownfishSupport.com ➡️ Official Merch Store: http://ShopClownfish.com ➡️ Official Website: http://ClownfishTV.com ➡️ Audio Edition: https://open.spotify.com/show/6qJc5C6OkQkaZnGCeuVOD1 Disneyland employees are considering going on strike due to low wages and poor working conditions, potentially leading to the park shutting down and impacting visitors. 00:00 Disneyland employees may go on strike due to low wages and increasing living costs, potentially leading to the park shutting down. 02:19 Four Disneyland unions may strike, potentially shutting down the park and impacting visitors. 04:03 Disneyland employees are negotiating for fair wages and policies, with the potential for a strike if a contract is not reached. 05:11 Disneyland employees filed unfair labor practice charges against Disney for intimidation and surveillance of union members, demanding a living wage. 07:10 Disneyland employees are struggling with economic hardship, with a majority reporting not earning enough to cover basic expenses, experiencing food and housing insecurity, and missing work due to lack of sick leave. 08:09 Disneyland employees are standing up for fair wages and working conditions, considering going on strike due to harassment and fear of retaliation from the corporation with a market cap of over $174 billion. 10:22 Disneyland employees are demanding fair pay and livable wages to prevent a potential shutdown. 12:07 Disneyland employees may go on strike due to poor working conditions and low pay, potentially leading to park closure and negative impact on guest experience. Expand About Us: Clownfish TV is an independent, opinionated news and commentary channel that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles. Disclaimer: This series is produced by Clownfish Studios and WebReef Media, and is part of ClownfishTV.com. Opinions expressed by our contributors do not necessarily reflect the views of our guests, affiliates, sponsors, or advertisers. ClownfishTV.com is an unofficial news source and has no connection to any company that we may cover. This channel and website and the content made available through this site are for educational, entertainment and informational purposes only. These so-called “fair uses” are permitted even if the use of the work would otherwise be infringing. #Disney #Disneyland #Dis

Key Takeaways Communicate openly with reps and casting about pregnancy, especially once showing No need to disclose pregnancy to everyone on set, but inform costuming if accommodations needed Auditioning and working on set while pregnant is possible with some adjustments Be honest about comfort needs, take precautions for safety, and go easy on yourself Topics Telling Reps About Pregnancy Emily told reps early on, around 6 weeks Most tell reps once showing, which is acceptable Reps are usually supportive as they can't discriminate and can submit for pregnant roles Telling Casting About Pregnancy Not necessary to disclose early if not showing and role is safe Once showing, disclose to avoid declining audition without explanation Doesn't necessarily need to be disclosed to full production team Auditioning While Pregnant Have 3 comfortable outfit options that work for typical roles Pant expanders helpful for fitting regular jeans Being visibly pregnant may affect chances for some roles, but not necessarily Don't modify audition material just for being pregnant Working On Set While Pregnant Had positive experience booking Young Sheldon role meant for pregnant woman Costuming unaware she was actually pregnant until fitting Communicate openly with costuming about comfort needs SAG has safety protocols, may need doctor's clearance Can request accommodations through reps if needed for comfort/safety Magical to be creating life and art simultaneously Next Steps Be prepared with comfy maternity/adjustable audition outfits Disclose pregnancy to reps early, casting once showing Communicate openly with production about accommodations Listen to your body, prioritize health/safety, and give yourself grace

How do you stand out in a sea of headshots? Kelly McCready (actor, writer/director, photographer, and creator of good things) explores the importance of bringing your individuality and authenticity into headshots and auditions. In this enlightening and educational conversation, she explores how headshots have changed over the years, sharing tips for discovering who you are in order to wear who you are, advice on how to approach headshots and auditions with confidence, and much more. This episode is chock full of her wisdom, humor, and personal experiences for both actors seeking roles and those of us figuring out how we show up for the roles we play in our stages of life.Episodes Resources & Notes:Follow Kelly and her creative projects on Instagram @kellyraemacTraveling soon? Download my free packing guide to help!--Links & resources:Follow the podcast on social media:@bustyle@natalie_tincherCheck out the website for more info at www.bu.styleSign Up for Nat's NewsletterRate, Review, & Subscribe to the podcast on Apple & SpotifyThis Podcast is brought to you by Upstarter Podcast Network

This week fi ish out talk about Dune Part 2.

Sound of Music is the classic from 1965 starring Julie Andrews and Christopher Plummer. It is the story of a young woman sent from her convent to be a governess in Austria in the 1930s. She is in charge of seven children and one stoic, windowed naval officer. And romance ensues.   Timecodes: 00:00 - DMP Ad :30 - Introduction :46 - The Film Facts 5:10 - Wait! This film is three hours? 6:45 - The Pickup Line 10:03 - Costuming & the use of color 13:40 - The scene after Maria comes back  18:39 - How we used to watch this film 23:18 - Multi-generaltional enjoyment 30:18 - Can we talk about the gazebo scenes? 38:38 - Head Trauma 40:10 - Smoochie, Smoochie, Smoochie 40:39 - Driving Review 42:20 - To the Numbers   Next week's film will be Inside Man (2006)   Subscribe, Rate & Share Your Favorite Episodes! Thanks for tuning into today's episode of Dodge Movie Podcast with your host, Mike and Christi Dodge. If you enjoyed this episode, please head over to Apple Podcasts to subscribe and leave a rating and review. Don't forget to visit our website, connect with us on Instagram, Facebook, LinkedIn, and share your favorite episodes across social media. Email at christi@dodgemediaproductions.com Need help editing or producing your podcast, let us help you. Also, you can get 2 months free on Libsyn click here: https://signup.libsyn.com/?promo_code=SMOOCHIE

Costuming SpongeBob: These are the people that actually made SpongeBob's pants SQAURE! Stage Door talked to the costuming team, and the musical's director, about how they built the hundreds of costume pieces needed to put on a visually stunning show. Spotify: https://open.spotify.com/show/214M4OKBbWcDivndnc2MTu Apple Podcasts: https://podcasts.apple.com/us/podcast/stage-door-a-theatre-podcast-hosted-by-two-regular-guys/id1573865415 SThe SpongeBob Musical - April 25-28, 2024 St. Francis de Sales Musical Theatre

MAIL BAG HERE The Shiners have arrived once again! Tune in to see who took home the prizes in the biggest movie award show around ! Intro (00:00) Our Previous Shiners episodes: 108, 152 What We Did This Week (02:30) Quick Oscars Discussion (09:46) The Shiners Begin (15:20) Ensemble Cast (16:30) Best Soundtrack (20:16) Screenplay (22:57) Sound Design (25:20) Editing (27:30) Costuming (31:13) Production Design (33:38) Supporting Performance (35:32) Cinematography (37:41) Most Unique Picture (40:50) Direction (43:11) Lead Performance (45:15) Best Picture (47:50) Award Show Conclusion (51:38) - I wanted to point out here that Nobody Knows is also one of our favorite movies of last year that didn't end up winning any awards What's Coming Up on the Pod (54:31) Our Album Recs (55:58) Thanks for listening !

Ever caught yourself daydreaming about twirling around like a character in a Jane Austen novel, decked out in those fancy Regency-era outfits? Well, I am joined by Shannyn Schack Dadvar from Wisteria and Lace in this episode, and we are diving head-first into that dreamy world.We chat about the enchanting costume designs in Jane Austen adaptations and get down to the nitty-gritty details of period costumes! We are breaking down "Emma" and "Pride and Prejudice," discussing the costume choices that reveal way more about the characters than you might think. Shannyn is ready to bust myths about corsets and dress reform, giving you the lowdown on how film adaptations either nail historical accuracy or, well, unravel it a bit.So, whether you're a seasoned seamstress or just curious about empire waistlines, this episode is a goldmine for anyone who loves a bit of elegance from the past and those timeless tales spun by Jane Austen. Come join the fun, and let's celebrate the art of historical fashion together!

In this episode, Chrisha and Catherine start the discussion with Jack and his odd behavior at the end of Supernatural and during The Winchesters' finale before moving on to talk about Baby, The Winchesters' title card and its connection to the Akrida, and the logistics behind Cas' absence. The conclude by reflecting on what was left unresolved and what was healing for them personally.The Winchesters audio clip credits: The CWSupernatural  audio clip credits: The WB; The CWSPNNash 2021 audio clip credit: Gayle (thank you to @alishabless13 on Twitter for asking the question and helping us to find the audio!)KSiteTV audio clip credit: GOTHAM KNIGHTS Misha Collins InterviewJIB 12 audio clip credit: Chuck Won on Tumblr (thank you to Veronica for letting us know about this clip!)Follow us on Twitter @TheFangirlBiz and on Bluesky @thefangirlbiz.bsky.socialJoin our Kofi Discord community at $1/month: https://ko-fi.com/thefangirlbiz/tiersSupport our podcast by buying our new merch: https://www.redbubble.com/people/thefangirlbiz/shopThanks for listening!

In episode 46 we talk with ERIC WINTERLING, founder and creative director for Eric Winterling, Inc. about making costumes for two popular series set in New York City in widely different time periods. THE GILDED AGE (HBO) and THE MARVELOUS MRS. MAISEL (Amazon Studios) have dazzled historical drama watchers and series fans with their show-stopper fashions.  Eric's New York City costume studio is where the period garments are constructed from designs by Kasia Walicka-Maimone for THE GILDED AGE; and Donna Zakowska, Emmy award winning designer for THE MARVELOUS MRS. MAISEL. Eric's dog, Bumpers also joins us for the first half of the conversation. PLEASE NOTE: TRANSCRIPTS ARE GENERATED USING A COMBINATION OF SPEECH RECOGNITION SOFTWARE AND HUMAN TRANSCRIBERS, AND MAY CONTAIN ERRORS. 1:18 "That dress is going in the wrong direction" 1:41 Costuming 1880s and 1950s New York -- THE GILDED AGE and THE MARVELOUS MRS. MAISEL 3:08 Eric Winterling's costuming journey from gingham dog and Houston Grand Opera to Eric Winterling, Inc. 12:29 First Big Project: SHOGUN, The Musical and Broadway 15:23 Costuming Stage vs. Costuming Film -- "It really has to come down to the closures" 19:20 Clients: working with THE GILDED AGE and THE MARVELOUS MRS. MAISEL costume designers 27:05 Costume Construction Techniques and Fabrics 33:37 Podcast Generic Break 34:37 Corsets, "Under Structures" and Period Silhouettes 39:26 Sourcing and stocking the "right fabrics" 45:34 Showstopper Costumes: Enid Winterton's new social status and Midge Maisel's black dress in the Smithsonian 48:39 Midge Maisel's multiple costumes 52:14 Costume Design awards  54:33 What happens to costumes after a show ends 58:29 Lightning Round STAY ENGAGED with HISTORICAL DRAMA WITH THE BOSTON SISTERS LISTEN to past podcasts SIGN UP for our mailing list to stay up-to-date on future episodes and bonus content. Find out how you support the reserach and production of the podcast by shopping in our affiliate bookstore and contributions. SUBSCRIBE to the podcast on your favorite podcast platform --- Support this podcast: https://podcasters.spotify.com/pod/show/historicaldramasisters/support

Today, we're sharing part 2 of our deep dive into historical costuming! Our guest is AJ @confusedkittysewing - and AJ speaks about her experience getting into historical costuming, her sewing practice and collaborations, and her experience as an Asian costumer with Nicole.  Follow the pod at @AsianSewistCollective on Instagram. For show notes and a transcript of this episode, please see: asiansewistcollective.com/episode-50-historical-costuming-part-2  If you find our podcast informative and enjoy listening, you can support us by buying our limited edition merch, joining our monthly membership or making a one-time donation via Ko-Fi: https://ko-fi.com/asiansewistcollective 

In this week's episode, we're deep diving into historical costuming! We're talking about what historical costuming is, inclusivity in the historical costuming community, historical Asian garments and more.  Follow the pod at @AsianSewistCollective on Instagram. For show notes and a transcript of this episode, please see: https://asiansewistcollective.com/episode-49-historical-costuming-part-1/ If you find our podcast informative and enjoy listening, you can support us by buying our limited edition merch, joining our monthly membership or making a one-time donation via Ko-Fi: https://ko-fi.com/asiansewistcollective 

Get ready to dive into a galaxy far, far away on the Living By Disney podcast. In this episode, I'm joined by the amazing Sara Jay Mac to explore everything Star Wars and the power of finding your people within the Star Wars community.Sara Jay Mac is a true Star Wars aficionado, and she's here to share her insights and experiences on how this incredible fandom brings people together. We'll uncover the secret sauce that makes Star Wars such a powerful force for building connections. From epic conventions to lively online forums, Sara will show us the many ways fans can connect, support, and find their own Star Wars family.Follow Sara @sarajaymacSara's podcast Princess & ScoundrelLinks to Sara's groups on Costuming, the Galactic Starcruiser, Galaxy's Edge, and more!Our show is brought to you by our partnership with MickeyTravels! Greg and Elyssa and their team of agents are ready to help you with any of your Disney travel needs including Disney World, Disneyland, Cruise Line, Adventures by Disney, and more. Tap this link to get the process started and start looking forward to fun vacations ahead!If you enjoyed today's show please consider leaving us a review and let us know what you thought! The feedback would be so helpful and good reviews really help the show get more listeners. You can find more about us on our website and at the links below! Follow us on Instagram We are having a ball on TiktokWe're now on YouTube!Get our latest Digital Guidebooks- be a WDW pro!Get our free weekly email with the latest newsListen to the Podcast!