#kat adams design

[illustrationsbychristina]

Power Rangers Fan Candles - The Core

This is a fan project, not associated with Hasbro, Saban, or any storefront.

4. The Core - Power Rangers Zeo

The strongest-scented spices of the Earth.

[fdmlovesfashion]

Highlights from NYFW: hiTechMODA Fashion Event highlights emerging designers

Fashion month is in full gear and hiTechMODA’s fashionable events have begun. Showcasing a lineup of international designers, Pamela Privette and her powerhouse production team launched a showcase of fashion designers during New York Fashion Week (NYFW). Known for its commitment to innovation, inclusivity and accessibility, hiTechMODA is redefining the fashion show experience by offering a…

[youryurigoddess]

Good Omens Christmas jumpers, because of course they are a thing now

Glad to see that I’m not the only one clowning about the Good Omens Christmas jumper designs! You know what it means — putting together everything in one thread to make the further speculations more streamlined and, obviously, fun.

On November 20th, Rob Wilkins was present at the “Designing Terry Pratchett’s Discworld” event at Brendon Books. Probably not much to talk about from most of the Good Omens fans perspective, if not for the journalist Kat Brown posting on Bluesky the next morning:

But wait, something’s wrong. Or maybe not wrong, just… different. Why is Crowley the one shielding Aziraphale with his wing in his demonic, black-clothed, black-winged form? That’s a clear deviation from the pattern established in Eden and Before the Beginning.

There was barely enough time to discuss this phenomenon properly though. In the afternoon of November 21st, Rob made a previously unannounced appearance at the Paul Kidby’s “Designing Terry Pratchett’s Discworld” event at Waterstones Piccadilly, where he presented the Aziraphalean version of the jumper. On it — one Forty Years of Discworld pin and a second one in preparation for 2025 as The Year of the Luminous Lemur. Thanks to the phenomenal @basement-jax (I’m not exaggerating, I’ve seen her perform live on stage with Michael Sheen last month) present on site, we got the next photos in real time:

Let’s compare both designs, starting with the most noticeable difference — their color schemes. Both consist of six different swatches, three of which (white, black, and skin tone) repeat. The remaining three are two shades of the fourth color (brown for Aziraphale and red for Crowley) and a fifth, contrasting color (blue and yellow, respectively).

Six is obviously a very important number in terms of the Good Omens lore. Six episodes per season, 666 as the number of the Beast (Antichrist/Adam), 668 as the original title of the unpublished sequel — the ending of this story that will be finally adapted and revealed very soon. Not accidental.

Which brings us to the question of the left angel’s hair. Changing two brown shades to two golden ones, one already used in the other color scheme, not only shouldn’t be a problem for the designer, but would be a cheaper option and ensure consistency with the right angel’s design.

Some netizens have suggested that this discrepancy is caused by the left design representing the book iterations of the Ineffable Husbands. Book Crowley’s hair is dark — could be black, brown, red, even dark blond — and book Aziraphale’s hair is blond, which logically could be depicted as white or light brown.

Their graphic novel iterations created by Colleen Doran use black for Crowley’s hair (much longer than that of the left jumper demon) and blond for Aziraphale, close enough to the yellow yarn already used in this project and not quite the same shape as the jumper angels’ hairstyles.

Since neither seem to be an exact match for the design, could it be reverse Omens? The answer is not as simple. The characters aren’t just swapped; both of their hairstyles have been redrawn, at least partially. Unlikely a technical issue, when wings and clothes stayed exactly the same.

That would be the facts. Now onto the silliness!

My clowning theory is that we’re dealing with two alternative timelines or retellings here.

For Christmas, Crowley wishes for things to stay exactly the same as they are — but with him as Aziraphale’s protector, the romantic hero his angel needs and deserves.

Aziraphale wishes for a past where he doesn’t exist, or at least never meets Crowley. That’s how the latter would stay an angel and his role of the Serpent of Eden would be taken over by someone else — someone like Beelzebub, perhaps, with their small frame and short black hair?

@bardraelyn kindly suggested yet another option, purely out of amusement: “What if the “Aziraphale’ sweater depicts Lucifer and God?”.

What about you? What are your theories?

This clowning is now officially approved by Rob:

[stagefoureddiediaz]

Hi Kym! I apologize if you have answered an ask like this before, but I am curious for your opinion.

You've talked a lot about how intentional all the Buddie parallels are in terms of costuming for several seasons now, both with Buck and Eddie together, then with their respective girlfriends, and in comparison to Bathena. We are now even getting throwbacks to season 2 and Eddie's first episode with Buck's stonewash jeans! Tim is adamant in interviews that he never planned this bisexual awakening in advance (we know that Eddie was originally meant for Maddie ofc) and that he doesn't know where the characters are going yet, but even Oliver has said he intentionally leans into the Buddie of it all with his acting, or at least into Buck's then-presumed bisexuality.

My question is, with just how pointed and intentional the costume choices have always been, is Tim is lying? Or are the costume designers secret Buddie shippers and intentionally lean into this storyline too? How much of what we see in terms of costuming is the decision of the show runners/directors vs creative expression of the costume designers? Is there a point in the show for you where it became clear how intentional it was becoming with the costuming, where they may or may not have said, "we're going to commit to telling this story in subtext until we are allowed to tell it overtly"?

Thanks :)

Hey Cookie-Kat!!

How lovely to have you in my inbox, and what a great question!

putting my answer under the cut - because it got long!!!

The answer I give is going to have to be a bit vague I'm afraid because the reality is that as I don't work on the show and I'm not 100% sure on the set up of their various departments, I can't categorically state how they are going about things in 911 land! I can share my experience and knowledge of how things can be done and try to give you some sort of framework - but I can't definitively say that this is how they are doing things.

First up let's address the whole Tim lying thing.

Tim is all about subterfuge in interviews - its literally his job as a showrunner. I would take every thing he says in an interview with a giant grain of salt. the entire purpose of his interviews is to tease and hook people, without giving anything way becasue why would he spoil all the things he has planned that make people watch the show he is creating. If he came out in an interview at the start of the season and said

'yeah, we're going to do a cruise ship disaster and all these things are going to happen, and in episode 4 Buck is going to get kissed by a guy and figure out he's bi and Eddie is going to find out his girlfriend was a novice nun and its going to send him into a catholic guilt spiral, and maddie nad CHim are going to get married, but x, y and z are going to happen before they can get down the aisle'

Why would anyone tune in to watch the show? we'd already know what was going to happen so there wouldn't be any point - there would be no buzz and the viewing figures might be ok, but they wouldn't be remotely close to what they are. I know for a fact I probably wouldn't be tuning in - people like to be surprised, they like to speculate - we in fandom take it to a higher level, but even the general audience speculate - water cooler conversations about what you watched the previous evening and how you think it's going to play out are part of a show's appeal - part of how it keeps people watching - shared experiences are a powerful commodity, especially in network television and they cannot be shared if we all know what is going to happen.

I would also add that this season is the most explicit acknowledgement of buddie that we've had in interviews and that means something. The show - writers, actors etc have all been incredibly careful before no to ensure that they haven't crossed over into queerbaiting the audience - which is something I really appreciate them for. But this season, things have definitely changed. whether that is down to being on a new network, that actually has a marketing strategy and that actually seems to care about the show and the stories that they have wanted to tell, I don't know, but it is so refreshing and exciting to see.

Tim is a clever person - he knows exactly what he is doing and every single season, without fail we have him saying things in interviews that can be read in multiple ways - none of them have ever been lies - subterfuge is the name of the game - then if you reread them in the aftermath of the season, you can see what he said did in fact play out as he hinted at - he has the context that we didn't have at the time and that is why he can subvert and talk his way around things.

I genuinely don't think Tim planned to give Buck a bisexual awakening from the start - we know he never planned on the buddie of it all, but a good writer will go where the characters take them. As soon as you create something and put it into the hands of others (the actors, directors and crew) things can very quickly take on a whole new direction and a life of its own.

If you ask me, I genuinely don't think Buck could've had a bi awakening before this point - it wouldn't have made sense from a narrative perspective (and his death and rebirth actually make the perfect jumping off point to explore) until now because of the very nature of Buck.

There isn't a single show (by show I mean one that isn't a limited series which will by definition have a planned arc) on network television that knew where each and every character would end up at the end of the show or that characters journey (by this I mean when cast chose to leave a show). Yes they might have planned a few beats to hit along the way, but they wouldn't know the end point for the character. We have a perfect example on 911 - Michael - the show hadn't intended to end Michaels arc in the way it did - his journey as a queer man coming out later in life was an important part of the show - important for representation as much as anything - they had to adapt and change in light of what was going on with Rockmond and write out a character that they would've had other plans for.

The other thing I should mention is that When Tim says he hasn't decided or written the scripts for upcoming episodes, that doesn't mean he doesn't have a plan. He very much will have a plan. There would've been clear arcs for each character laid out at the start of the writing process for the season - they would want to get character a from one point to another by the end of the season. Its the how they get there that is the unknown - at this point we don't know the end points for any characters this season, but if we take season 5 Eddie as an example - at the start of the season he is post shooting and back at work, seemingly perfectly fine. By the end of the season he is genuinely in a good place having gone through his trauma arc. The arc they would've decided on for Eddie that season was to explore his trauma and how to get him from a 'seemingly' good place to a genuinely good place. From there they would've decided on various touchstones - so Ana being mistaken for Christophers mother and them being a family is his trigger to launch his arc. Chris being scared of loosing his father a major touch stone, pushing him into leaving the 118. His then feeling on the outside - left out and replaced by Lucy is his next one, followed by the fact all his army buddies are gone, another touchstone - coming in quick succession to build momentum and leading to his breakdown. Pushing him to actually get help - therapy is another touchstone - one that helps to get him to the end of the season in a vastly different place - healing but still working on things.

So you see - they generally plan an overall direction, but how they get there is the bit that is a bit fluid and can be determined to a certain extent by audience reaction (I don't mean that they would out and out rewrite the entire plan for the season for a character, but they might chose to lean into different aspects if the audience react in a certain way - we saw this with Lucy - planned for a bigger arc, but the audience reaction to her was pretty negative, so they changed direction with her character and cut her part down).

In terms of Bucks bi arc - they will have been waiting on how it was received before fully determining how to play it out for the rest of the season - I genuinely think we'll be seeing more of Lou as Tommy later in the season as a part of Bucks arc - The way Lou has spoken about it being initially a 4 episode arc, suggests to me that its always been intended to run it longer if reaction was good - which we know it was. My explectation remains the same - that Tommy will be around until either the end of episode 9, or the middle of episode 10, to get Buck to where he needs to be by the season end.

I am on the fence as to where exactly that is - Everything from set, costuming and the script is screaming at me that it's about Buck figuring out not only that he is bi, but that he is also in love with Eddie. That is his arc for the season. What I am unsure of is how they are going to leave things at the end of the season (and I think a part of that will have been determined by audience reaction), whether or not we'll leave him acknowledging his feelings to himself, to a third party (Tommy and or Maddie), or to Eddie himself. Of course part of it will be determined by Eddies arc and how far they plan on getting him in regards to dealing with his catholic guilt and what form and direction t hat is going to take, but I cannot see any reason to start exploring that aspect of his character if you weren't going to use it for a queer arc of some description.

In terms of costuming - which was the main point of your ask - sorry I get rambly in these replies some times - I always view it as the first 2-3 seasons at the very least will be about establishing a characters look and vibe within the wider show, and from then on you can start to play into themes and colour theory etc. Somethings you can establish earlier - especially if they are centric to a character more widely. Examples of this are Eddies army green tees and shirts - establishing him visually as ex military, or the black singlets that he wears when in an emotionally vulnerable place, or Buck wearing his white trainers as part of his search for self, or his white shirts as a signal of him being in danger. You can do this, because they aren't playing on anything in relation to other characters at this early point.

So the decision to take Buck out of jeans (stone wash jeans specifically - he's been wearing jeans they've just been black or dark navy) and have him in very obviously shorter trousers, creating a specific aesthetic for him - this smarter, fitted clean cut style that is different from his season 1 looks, has been about playing into his journey of searching for self - that is his big overarching arc - the one that spans multiple seasons.

The intent to do that, wasn't about Buddie (or bi Buck) when they started to use it as a visual marker for him. It was (and always has been) about Buck. about his search for meaning in his life and who he is, who he wants to be - about being his authentic self.

The reason I got so excited about seeing him in jeans once more, when the first stills dropped at the start of the season - was because I knew that it was a signal that this bigger arc was coming to fruition and moving into its next phase. The costume team have been sitting waiting for when the time was right to do this - its being done with such intention.

Of course I hoped that it would be buddie related - things were pointing in that direction from other costuming choices. And to me at least, I still think its very much buddie related - because to do this now - for this bi awakening arc - its too loud and too big for 'just' a bi awakening arc - its about something bigger for Buck - something long term (and I'm not saying Buck being bi is't long term, because obviously it very much is - bi rep is so important!) him figuring out he is bi is a smaller part of a bigger whole for his character. The implication of the jeans returning is that this part of himself he has unlocked plays into a bigger story. Bucks search for self has always been about finding love - about being wanted and seen and accepted for who he is. As a costume designer, I wouldn't personally be putting him into jeans at this point unless it was related to his endgame - being bi isn't enough on its own for them to decide to visually show that he has fully found what he has been looking for on his search throughout the seasons (the white trainers still being in used also play into this) because he is still looking for that lasting happiness - he's just taken a massive step forward to figuring out what it is and where it lies.

With regards to colour theory and the paralleling of Buddie with other ships such as Bathena or Madney. Colour theory alone it wouldn't be enough to convince me, it is in combination with other factors such as the paralleling of Bathena and Madney that it comes into play. The thing is, creating those parallels and colour theory combinations doesn't have to lead to something. I'm going to do a terrible job of trying to explain this, but I'll give it a go.

Various people, who work on the show in some capacity have all commented over the years that they weren't expecting the level of chemistry that Oliver and Ryan have. We also know that they have played into the buddie of it all with some of the scene choices they've made - sort of an acknowledgement of what we're seeing - the elf scene in s2 is a prime example - a nod to fandom and the fact that they are being shipped together - and an acknowledgement of the chemistry - without it necessarily needing to mean more (the same goes for things like the text comments on the botfly influencer livestream call etc).

Back then wardrobe are still very much in character establishment mode - creating and defining the looks of the characters, and playing into colour theory on an individual level, not necessarily on a partnership level (S2 Bathena would've been treated in this way as they were already intended to be an end game couple so you can play into colour theory much earlier), that comes later. I wouldn't have been able to write costume metas in season 2-3 in the way I do now, because the parallels didn't exist and the ground work hadn't been laid.

Once you get past that intial establishing phase, hat is when you can start to play into the colour theory much more in relation to specific characters and pairings. One of the clearest examples of this is Eddies black shirt green trousers combo that he wears at the loft when having serious conversations with Buck. He first wears it in season 3 at the end of the lawsuit/fightclub arc (3x09), and then we dont see it again until season 5 (5x04) at yet another scene in Bucks loft.

The meaning of the colours in that scene are important sure, it is playing into colour theory, but what is happening visually is that we're subconciously connecting dots and remembering that Eddie has worn this outfit before to talk to Buck - that means it must be a serious conversation, one very much focused on something Buck has done (or hasn't done depending on which way you look at things). Eddie has been in Bucks loft on multiple occasions between those two scenes, and Buck and Eddie have had multiple serious conversations in the intervening episodes as well. so why that scene if its not meant to make us connect dots?

Now on a fundamental level, those two scenes can be read as establishing the close friendship Buck and Eddie share - that they are following through on their s2 promise to have each others backs. its entirely correct to assume that - it is after all what those scenes are establishing. But what it is also doing is laying the ground work for if they want to take Buddie further. we know that the conversations about Buddie have been happening in the writers room and on set for a good long while, and even if you don't yet know if you're going to go in that direction, you would be foolish not to lay the ground work in a subtle way if you can, so that the option is there if you did decide to take that direction.

A show will use what ever tools are at its disposal to lay various foundations that it can then pick and choose to build on as it wants or needs to. It is why we see the pictures in Eddies house moving around, why things on the fridge change (fridge theory is not as out there as some people would have you believe - there is a whole thing coming up on Eddies fridge in reaction to guts and the digestive system - which will very much be playing into his catholic guilt arc!) in Christophers room move around and change - its not just about him being a growing (soon to be teenager) boy, its also about laying foundations for story arcs they might choose to develop down the line and the Buddie groundwork is no different.

Its not about the wardrobe team being shippers of Buddie - its much more about them knowing where a season is headed (in brad strokes, even if they don't have specifics) being really good at their job and now being able to bear the fruits of their labour from earlier seasons - they had been doing the same with buck and Taylor - now they're doing it with Buck and Tommy (and Eddie). It would've been super easy to spin the costuming for Taylor into more positive colours - especially on Buck - in season 5, but they had the bigger picture and knew she wasn't going to remotely be endgame, so they were able to play into that throughout the season. Establishing Tommy as a version of Eddie is building on the Eddie groundwork they laid and using it to make it very clear that we are supposed to see the similarities between them - its steering us as viewers towards thinking 'oh Buck has a type - He's dating someone like his best friend - he should just date his best friend' is all about subtly nudging the audience in the right direction - towards Buddie - its just most people won't pick up on it in a conscious way.

I'm not sure if this makes any sense or if it even answered your ask, but essentially the show is using everything at its disposal to tell the story its telling and they have been laying groundwork that can take things in various directions - they are just choosing to push the buddie agenda to an increasing degree (and I have said groundwork far too many times in this post!!)

Thaks for the great ask 💜💜💜

[grownfairytale]

If you're not against all of this, then you're for it, or you might as well be

So I saw Cabaret last week and have finally decided to put down my thoughts as promised to those I said I'd write this for. But being me, I also then went and watched different performances/versions (1987 revival, 1993 revival, 1998 revival and 2014 revival) in order to see what works and doesn't for me.

Based on what I had heard about this revival, I had my doubts but after seeing that Adam Lambert was cast as the Emcee, I decided that having a queer Jewish man as the role might add what was missing with Eddie Redmayne just in terms of the character. Whereas the idea initially was (and is) that the Emcee/Kit Kat Club are the soul of Berlin, Redmayne has said the Emcee is the puppeteer or conductor, whereas Lambert has infused his identity into the role, and the choices made are based on survival (https://playbill.com/article/how-adam-lambert-and-aulii-cravalho-are-spitting-in-the-face-of-fascism). After all, as noted by the initial production, Redmayne is a cishet white man with that Aryan look, he'd be fine. Having a queer Jewish man in the role automatically changes that dynamic. Auli'i Cravalho wasn't on when I saw the show but I would have loved to see her rendition of Sally. So, despite my initial misgivings, I did enjoy the show. Anyway, onward to the actual review as well as some comparisons.

The first thing about the show is the immersive aspect. The theater itself was redone to be like a cabaret club, so everything is done via theater on the round. You're brought in through a hallway and given a sticker to cover your camera phone and there are pre-show dancers/performers. There's also an option to buy a package that gives you food/champagne to more bring you into the world of extravagance. To lull you into that false sense of security the first act gives you.

The costumes really are the main way to tell what's going on within the show. Because of the theater in the round aspect of this production, even as being part of a club as there are tables around the stage (part of that initial extra package for food/champagne), there really are no actual sets and instead you have to rely on the performers and costumes. It heightens the idea of the Kit Kat Club as the soul of Berlin. They make the staging work and trust the audience to figure out where a scene is taking place. The costumes begin as being very elaborate for those in the Kit Kat Club, then grow more uniform as the show goes on. From the more unique costume per dancer to a green fringe/flapper dress, to beige essentially lederhosen to finally the beige suit of uniformity at the end of the production while the named characters are more unique, even in this last moment. The Emcee has the most drastic change as he is separate from the dancers while really showing the way the city and country are going. (https://playbill.com/article/in-cabaret-set-and-costume-designer-tom-scutt-wanted-to-celebrate-queer-individuality) This both works and does not work at points. 

As previously mentioned, the staging is sparse and as it is a theater in the round, the cast plays to both sides of the stage. The most utilized staging was the use of the center of the stage that moved up and down into tiers. During Tomorrow Belongs to Me (Reprise), the performers singing the song and thus part of the ideology  are on the lower level while the two couples (Cliff/Sally & Schultz/Schneider) are on the next turning table that’s lifted silent and then the Emcee comes up in the babadook costume from ‘Money’ conducting everyone - again referencing the way the Nazis are taking over even before the 1933 election where they won seats in government. During ‘What Would You Do?’ this effect was used again so that when Bebe Neuwerth as Fraulein Schneider is singing what is less to Cliff and Sally and to herself, she is raised in the center while the lights are darkened and just on her before she joins the two on the stage again, once more asking and begging for an answer on what should be done. This effect was used again at the end of the show with everyone in the beige suits on the turntable with the Emcee in the middle. Another powerful staging moment that works better in this sort of staging where it’s more metaphorical and symbolic versus a more straightforward production where there are props and sets is during Married (Reprise). The Emcee comes in as Herr Schultz is trying to reassure and reconnect with Fraulein Schneider and is seen wrapping a glass before stomping on it and paper falling down as glass when the brick is thrown in, showing both what would be a typical part of a Jewish wedding ceremony and also representing Kristallnacht and what will come in the future for Jewish citizens. 

When it comes to the performances, they were extremely strong. There have been a lot of comments that, for Broadway at least, Redmayne’s Emcee starts off creepy and unsettling and thus has nowhere to go. That he’s more puppet than character. This is not the case with Adam Lambert’s Emcee. Even in the same costuming, when he welcomes you in, he is having fun, being charming, luring you into the Kit Kat Club and the hedonistic atmosphere. There is a dynamic between him and Sally and he’s always there both as a character but also the spirit of Berlin. Despite using the same script as the 1998 Sam Mendes revival, there is a departure during the first time we hear ‘Tomorrow Belongs to Me’, instead using the original arrangement even as instead of the waitstaff, it is the Emcee singing the solo and the male performers backing up with harmonies as they place male dolls on the turntable to turn in counter with the Emcee. The entire time, he’s in a robe and looking at a box and making the decision to put on a blonde wig that is inside of it though we don’t see this until later in the second act. But it is this moment where he makes the decision to go along with the political tides that are changing, instead of listening to a gramophone of a school boy before defiantly saying “to me” at the end. 

During ‘If You Could See Her’, the Emcee is in a clown costume as he will be for the first part of the second act and while other productions have had the performer who is dressed as a gorilla in some sort of of get up (pink bra and tutu, full one dress, cover the face before ‘introducing’ her to the audience), this time the performer in the gorilla suit is just in the gorilla suit with nothing else on. I’ve heard people reference people laughing at the end of the song after the “She wouldn’t look -Jewish- at all.” There was one person who did when I saw it, but given the tense atmosphere that was going on during the song as this is done after the window smash and Fraulein Schneider leaving Herr Schultz after realizing what it would mean to be married to a Jewish man, it was more of an uncomfortable laugh than a laugh in thinking the moment was funny, even as the rest of the song is played for laughs and even that moment, there wasn’t an overt sinister moment of the line. 

It is during ‘I Don’t Care Much’ that the full transformation has taken hold. The Emcee is in the blonde wig and a beige suit. The layers of the song are such that it is clear he is pushing down his personality, his identity, to fit this new mold. As he sings, we see the other Kit Kat Club dancers in the same suit, watching, especially as he interacts with Sally. Previous versions have the Emcee singing the song away from the action (either without his coat in the 1988 pro-shot of the 1987 revival or in a dress as the Sam Mendes revivals had) whereas this time he interacts with Sally and even grabs her arm as she makes the decision to go through with the abortion and go back to the Kit Kat Club, even as it means losing her individuality as she has put on Cliff’s suit jacket to (mostly) match the others. 

By the end of the show, the Emcee has completely changed. Similar to the Mendes version where the Emcee is also the train conductor who sees Cliff off. Instead of the welcoming and fun character from the beginning of the show, the Emcee/conductor is strict, even angry, when asking if Cliff did not find the country beautiful, as if why would anyone wish to leave? There seems to be a sort of recognition as Cliff sees him so when Cliff begins to sing Willkommen, the Emcee begins to reprise the dance slowly as if a flash of memory to Cliff and himself. Yet there is a definite double meaning to when the Emcee asks “Where are your troubles now? Forgotten? I told you so” both as the idea that with everyone falling into line but also, at least to me, pointing out how compared to a lot of problems, at least we are not in 1930s Berlin where fascism is on the rise, even as that can change as seen in the show and history. Following that, the Emcee is almost angry or trying to convince himself/the audience that “there are no troubles here, here life is beautiful.”

Auli’i Cravalho ended up not performing the show I went to, so I got to see Gabi Campo as Sally and she did well. Sally is an interesting character because she keeps so much hidden and instead flits between roles of what she thinks others want from her. The first time we really see Sally’s feelings is during “Maybe This Time” as she looks up at Cliff and pictures a life she didn’t expect to want and maybe doesn’t even want but because someone is offering her stability, she holds onto it. She had Sally’s anger down as seen during “Mein Herr” after being fired with “Mein Herr” as her final performance and lets that anger infuse the entirety of the song instead of going on with the show as previous versions done. It’s when she sings “Cabaret” that this really comes through as she wipes off the make up to fit with the rest of the other performers yet goes on to have a breakdown during the end where she is trying to strip out of the jacket even as she puts it back on, though unlike the others, she doesn’t have the jacket buttoned up and a shirt on under it, instead in her bra and the suit jacket and pants.

Cliff falls into my category of missed opportunities/mixed message with the themes of the show. This production leans heavily into Cliff being queer, even more so it seems than the previous Mendes versions, by having him as a Black queer man, some lines/interactions don’t add up - especially with Ernst Ludwig, who both sometimes seems to maybe flirt with him and also just befriend him - yet as Ludwig is a Nazi (not actually revealed until the end of the first act to both Cliff and the audience), it’s one of those moments where the theme and what it seems the creative team was going for missed the mark by not exploring the race dynamics, even as the original actor for this production leaned into his personal identity and of historical queer Black men for his performance (https://playbill.com/article/how-claude-mckay-informed-ato-blankson-woods-take-on-cliff-in-cabaret-on-broadway). Even by using him as a courier, it is mixed because on the one hand, he would be more noticed by train personnel as well as in Paris, yet also as an American (and this is noted by Sally), Ernst using an unsuspecting American because they are less likely to have their luggage opened and checked. It also adds weight to Cliff wanting to learn about the politics of Germany given they would have a more immediate impact on his life, American or not, as opposed to Sally, who wants to just go one and even says, “Oh politics, what has that got to do with us?” The actor I saw as Cliff, Calvin Leon Smith, does sell the dynamic between Cliff and Sally very well. By overtly changing Cliff’s race though, it highlights one of the concerns I had going into the production, that while the production was very interested in the queer community of Berlin and how the Nazi ideology impacted that, they didn’t focus on the underpinnings of Nazi ideology with regards to the extermination of the Jewish population and racism. 

The romance between Herr Schultz and Fraulein Schneider fills the emotional heart of the show, even if Cliff and Sally are the main couple. It’s both unconventional in that we typically expect a love story between younger characters, but also that historical weight of knowing what will come for a Jewish man and German woman to be together at that point and both Bebe Neuwirth and Steven Skyball bring so much heart to the roles and their relationship that started as a flirtation to an unexpected proposal (even while it is clear how much they love one another) to Fraulein Schneider realizing the truth of what her future would hold and backing out while Herr Schultz has this belief that things will work out, that he may be Jewish, but he is German and that is what matters, that different parties come into power so why wait, which was a prevalent belief at the time (https://forward.com/culture/theater/610579/its-60-year-old-boy-meets-60-year-old-girl-steven-skybell-on-playing-herr-schultz-in-cabaret/) This is particularly obvious after the reprise of “Married”, where after Fraulein Schneider leaves following the breaking of the glass, he has a staredown with the Emcee, as if finally seeing what is going on in Berlin. Yet even then, he holds onto the belief that things will be fine soon enough, that he knows Germans because he is one. Meanwhile, Bebe Neuwrith in “What Would You Do?” sells the need to survive, to do what she must and will not be judged by those younger than her who have the choice to leave. Because of the blocking with the stage, there is that moment where she is essentially screaming in her head, begging for someone to tell her there is another way, yet at the end, she feels the need to do what she must, fall in line over whatever she may personally believe, in order to continue her business, and simply accepting the world as it is because it is easier to keep her head down. 

There are a lot of strengths in the production, however, there are just those missed opportunities and themes that are not quite hit well. There’s the Cliff dynamics that can go either way but underpin some of my concerns, there’s even the way the show ends. With a smaller cast and strictly using costumes more as a storytelling mechanism, there are times where the message becomes muddled because Fraulein Kost is also a member of the Kit Kat Club (Fritzy) and during Tomorrow Belongs To Me, you have the cast still in their regular Kit Kat Club outfits so while there is a feeling of ‘the leopards won’t eat -my- face’, it is still disjointed. Especially at the end, as yes, the costuming of everyone barefaced and in the same suit is supposed to represent everyone falling into line and becoming homogeneous, even those who were once free in their identity, it misses the mark specifically because of the fact you have women in a male suit, which would go against the Nazi ideology of specific gender roles. So while I see what they were going for, it doesn’t quite hit. 

Now, there are three main endings to Cabaret and each has its own message. In the 1987 revival, like the original production and movie, there is a mirror that faces the audience. While the original production had the characters singing, in the 1987 revival, there are poignant lines repeated by the main cast amidst the singing of Willkommen: 

Schultz: Just children, mischievous children on their way to school, you understand

Schneider: I understand one does what one must

Sally: It will work out, it’s only politics, what’s that got to do with us 

Kost(?) hysterical laughter, 

Schneider: I must be sensible, if the Nazis come, what other choice have I?

Schultz: I know I am right, after all, what am I? A German

Ludwig: If you were a German, you would understand

Kost/Ensemble: Singing die die die before laughing, 

Sally: Made my mind up back in Chelsea, when I go I’m going like Elsie…Cradle to tomb isn’t that long a stay, Life is a cabaret old chum, life is a cabaret old chum, life is… - During this, there is a swastika initially in the mirror with the dancers as Sally is in the middle. 

This ending shows the complicity of not just the cast, but also the audience via the mirror as they are watching this all play out. 

In 1993, the lines were the same but the staging was vastly different and would be the same staging for the remaining revivals, where the Emcee shows up in a leather jacket and then at the very end takes it off to reveal a concentration camp uniform with the yellow star and pink triangle and (in 1993 at least) the red triangle as well, so instead of representing the soul of Berlin as it falls into Nazism, he instead represents the victims. 

Then there is this ending, which Redmayne says represents everyone as the perpetrators when the Emcee/Kit Kat Club are the soul of Berlin. Perhaps if they used the earlier script, or at least for the finale with the echoes of dialogue, it would hit more? I’m not sure. But by essentially using the Mendes script with some minor tweaks to it, something feels slightly off. Or just again, missed the mark in that regard for me. 

Overall though, I really did enjoy the production and a lot did hit, it’s just the ending that really feels like it wasn’t quite right even as it was still a gut punch as any production of Cabaret should have.

[eddieredmayneargentinablog]

New Video: Joel Grey and Eddie Redmayne Talk CABARET and The 'Emcee' Legacy

Last night, the company and audience of Cabaret at the Kit Kat Club celebrated Broadway legend Joel Grey’s 92nd birthday on stage at the August Wilson Theatre.

By: A.A. CristiApr. 12, 2024, Broadway World.

Last night, the company of Cabaret at the Kit Kat Club wilkommened some very special guests to their immersive nightclub home!

Eddie Redmayne currently in previews as the ‘Emcee’ in Cabaret at the Kit Kat Club celebrated Broadway legend Joel Grey’s 92nd birthday on stage at the August Wilson Theatre.

In the video Grey, who won Tony and Academy Awards for originating the role of the Emcee, reacts to the immersive new production now in previews on Broadway and its star Eddie Redmayne.

Redmayne described the feeling of performing for Grey and the show's composer, John Kander as "extraordinary, horrendously intimidating, as well, but joyful," and revealed a special moment he shared with the star during the performance.

Grey, who originated the role of the ‘Emcee’ on Broadway in 1966 and went on to star in the beloved film of Cabaret, took the stage as the entire cast, band, and creative team sang “Happy Birthday” while a custom cake, shaped like a giant pineapple, emerged from the stage.

During his speech honoring Grey, Eddie Redmayne said, “Tonight is an extraordinarily special night for us because we are in the presence of an extraordinary human being without whom none of us would be here.” After thunderous applause, Redmayne continued “Your performance in this part changed my life and it was one of the things that made me want to be an actor.”

The cast and Grey were also joined on stage by Cabaret composer John Kander.

Alongside Joel’s daughter Jennifer Grey and Kander, a star-studded crowd came out to fete the theater icon including Anderson Cooper, Candice Bergen, Jackie Hoffman, Jane Krakowski, Lin-Manuel Miranda, David Rockwell, and more. They were joined by numerous alum of Cabaret spanning the decades including Maude Apatow (Sally Bowles in London, 2023), Madeline Brewer (Sally Bowles in London, 2022), Joely Fisher (Sally Bowles on Broadway, 2000), Gina Gershon (Sally Bowles on Broadway, 2001), Mason Alexander Park (Emcee in London, 2023), Adam Pascal (Emcee on Broadway, 2003), Molly Ringwald (Sally Bowles on Broadway, 2002), Jake Shears (Emcee in London, 2023), and Brooke Shields (Sally Bowles on Broadway, 2001).

About CABARET AT THE KIT KAT CLUB

Cabaret at the Kit Kat Club is now in previews on Broadway at the August Wilson Theatre (245 West 52nd Street). The production, directed by Olivier Award winner Rebecca Frecknall and designed by Tony Award nominee and Evening Standard Award® winner Tom Scutt, will have decadent twin opening night gala celebrations starting Saturday, April 20 and continuing into the following night, with the official press opening on Sunday, April 21. Tickets are on sale now at www.kitkat.club or via Seat Geek HERE.

In addition to Redmayne, Cabaret also stars Gayle Rankin as the toast of Mayfair ‘Sally Bowles, two-time Tony Award winner Bebe Neuwirth as ‘Fraulein Schneider,’ Tony Award nominee Ato Blankson-Wood as ‘Clifford Bradshaw,’ Obie Award winner and Drama Desk Award® nominee Steven Skybell as ‘Herr Schultz,’ Henry Gottfried as ‘Ernst Ludwig,’ and three-time Helen Hayes Award winner Natascia Diaz as ‘Fritzie/Kost.’

The cast of Cabaret includes Gabi Campo as ‘Frenchie,’ Ayla Ciccone-Burton as ‘Helga,’ Colin Cunliffe as ‘Hans,’ Marty Lauter as ‘Victor,’ Loren Lester as‘Herman/Max,’ David Merino as ‘Lulu,’ Julian Ramos as ‘Bobby,’ MiMi Scardulla as ‘Texas,’ and Paige Smallwood as ‘Rosie.’ Swings include Hannah Florence, Pedro Garza, Christian Kidd, Corinne Munsch, Chloé Nadon-Enriquez, and Karl Skyler Urban.

The Prologue Company, the dancers and musicians that welcome audiences to the club, feature dancers Alaïa, Iron Bryan, Will Ervin Jr., Sun Kim, Deja McNair and swings Ida Saki and Spencer James Weidie. The musicians of the Prologue are Brian Russell Carey (piano & bass), Francesca Dawis (violin), Keiji Ishiguri (dedicated substitute), Maeve Stier (accordion), and Michael Winograd (clarinet).

For this production of Cabaret, the creative team have transformed the August Wilson Theatre into the Kit Kat Club with an in-the-round auditorium and custom spaces which guests will be invited to explore during the Prologue, the production’s pre-show entertainment. After purchasing tickets, guests will receive a “club entry time” to allow them to take in the world of the club before the show starts.

Patrons can upgrade their experience at the Kit Kat Club with exclusive dining or drinks packages that allow them to soak up the pre-show atmosphere. These various upgrades offer unparalleled service and unique experiences in the heart of the Kit Kat Club. Drinks can be enjoyed before and during the show, while food will be cleared shortly before the performance begins, ensuring uninterrupted and unmissable views of Cabaret. For a complete menu and more information on the upgrade packages, please visit www.kitkat.club/upgrade.

[theone-with-thestuff]

Here's a first look at some of the newest characters of the upcoming PR 2017 Zeo arc:

Aisha, Adam, Rocky and Kat!

What do you guys think?

______________________________

These awesome designs were commissioned, drawn and developed with the help of @artandfail go check them out!

[mintymelty]

YHS Evan Redesign/Rewrite

OK so i’m busy working on the proper rewrite so unfortunately Everett "Evan" Kenneth Adams (cool name) will NOT be getting a swag info card or anything like that but honestly I didn’t change much about his design anyways. I just gave him some douche-y hipster jacket patches and converse. to personalize him, if you will.

BUT his role in the story will be increased.

Evan will be the first properly introduced character aside from kat. his first act is to host a garage concert and to get kat to make more friends. said garage concert will introduce evelyn + james and will set up conflicts with the “Furies”, a gang YOU ALL KNOW WHO set up to help take care of “competition”. but of course they’re mostly anonymous. The “Furies” will crash the concert just before everyone leaves to threaten Evelyn. and by crash i mean have someone set off a firework near them remotely.

[fostopia]

I PROMISE I AM SANE <- LYING

like like like first there's The Beach, then The Town, and they have to traverse The Police Station and The Radio Shack and then the fricken Church all in between houses with their own dangers, and there's an added mechanic where food must be found and passed around or else the kids will get slower and weaker and ARHGHGH

johnny is a good kitty and can help distract enemies but jonah doesnt like it when he does that bc he wants the kitty kat to be safe aouugihgjf.........

i am normal. i am a normal bear. AUUUHGHG /POS

You are NOT about to make me brainrot my own designs/au istg /lh

Jonah would absolutely not want Jonny being a distraction he loves that little goober and he will keep him safe with every fiber of his being— then there’s Adam who’s fine with the distraction,,, ohhhh I should make Cesar n Mark designs.

OH OH AND THE ALTERNATES AS RESIDENTS?? GABRIEL AS A BOSS ENEMY?

[katmajik]

ꜱᴜᴘᴘᴏʀᴛ ɪɴᴅɪᴇ ᴄʀᴇᴀᴛᴏʀꜱ!

here you’ll find an ongoing list of indie artists i love and recommend, + links to their work/social media!

authors.

my work (kat majik) → queer comedy, dramedy, and romance

phoebe woods → jane austen-esque hockey romance/drama, with a dash of supernatural aesthetic

artists.

meg → graphic designer + Very Intuitive book cover artist

adam esch → designer + builder of custom tech (websites, streaming studios, PCs, keyboards, etc.)

hearts full clothing → clothing line that supports/advocates for mental health awareness

media.

sheauxtime collective -> a nonprofit organization that provides artists with the resources and platform to showcase underrepresented communities, with a focus on asexual spectrum entertainment and education

witch bitches review → two irl witches discuss portrayals of witchcraft in media (the above link is spotify, but you can find them wherever you get your podcasts!)

blogs + publications.

double the books → online magazine that supports an array of creators with reviews, interviews, and other information for readers to enjoy

queerafictionado → lover & reviewer of queer books (emphasis on the love, they have such good vibes!)

it’s gay book reviews → reviewer of queer books who focuses not on a traditional rating system, but each book’s own personal ~mood (a super refreshing and positive take!)

...more to be added!

[resetting37]

i talk about weddings in general here, but I wanted to talk more about Morgan and Avery's wedding since this prompt is what set me down this path uwu

it took me a while, but I think they'd ask Kat to be their witness ? it's a tough decision (at first Morgan just wants to ask their friends "okay who wants to witness ?") but they both agree Kat would be the one who likes talking in front of people the most and have the most fun with the role.

the guest list is pretty much composed of characters I've already made. Morgan and Avery are two of my main characters, so there aren't any "outside" friends and the ceremony is small so it's kind of easy to think of who would be there.

beside my main cast of course, some other guests include Simon, Morgan's sibling and Samson, Avery's half brother who's not close with her due to them meeting later in life, but he's making an effort to be a good brother. There's also Adam and Seth, the bounty hunters that tried to take Morgan back but they make amends kind of ??? Not really, but fun thing is that they do befriend Avery, so they get invitations. Avery does also invite Trinity (to Morgan's chagrin) but I'm unsure whether or not she shows up.

normally Evelow weddings end with the marriage (with all the festivities happening earlier in the day) but Morgan and Avery decide to get their marriage declared in, like, the middle of the day. Personal preference, they didn't want to burden kat as witness for that long 🤪

their matching jewelry of choice was a thin gold bangle. I'd like to think there was some sort of design on it, but that vision will come later to me

[yutopia-eleftheria]

Pokémon in my AU : Grass Starters

Drawing all the Grass Starters in my AU. They will have their own designs and different possible races that exists in my AU, based on their classic designs in the Pokémon games.

Note that the First Stages are pre-teens/teens.

---------------------------------------------------------------------------

001 : Bulbizarre (Bulbasaur)

Name Given : Bussho

Race : Earthling

Gender : Born Male ; Trigender

Height : 5'6" (167 cm)

Weight : 198 lbs (90 kg)

Zodiac Sign Representation : Aries

Blood Type : AB+

Home : Bourg-Palette (Pallet Town), Kanto (Japan)

Nature : Calm

Signature Move : Vine Whip

"Anthem" : Feel Like Fertilizin' by JTMusic

152 : Germignon (Chikorita)

Name Given : Ginko

Race : Wyverian

Gender : Female

Height : 5'8" (173 cm)

Weight : 152 lbs (69 kg)

Zodiac Sign Representation : Virgo

Blood Type : O+

Home : Bourg-Géon (New Bark Town), Johto (Japan)

Nature : Docile

Signature Move : Synthesis

"Anthem" : Sunflower by Post Malone ft. Swae Lee

252 : Arcko (Treecko)

Name Given : Aritomo

Race : Vastayan ; Oovi-Kat Tribe

Gender : Born Male ; Demiboy

Height : 6'1" (185 cm)

Weight : 110 lbs (50 kg)

Zodiac Sign Representation : Aries

Blood Type : A+

Home : Bourg-en-Vol (Littleroot Town), Hoenn (Japan)

Nature : Hasty

Signature Move : Mega Drain

"Anthem" : Natural by Imagine Dragons

387 : Tortipouss (Turtwig)

Name Given : Toru

Race : Earthling

Gender : Born Male ; Quoigender

Height : 4'10" (147 cm)

Weight : 179 lbs (81 kg)

Zodiac Sign Representation : Taurus

Blood Type : O-

Home : Bonaugure (Twinleaf Town), Sinnoh (Japan)

Nature : Hardy

Signature Move : Razor Leaf

"Anthem" : The Mountain by Three Days Grace

495 : Vipélierre (Snivy)

Name Given : Victoria

Race : Wyverian

Gender : Born Female ; Demigirl

Height : 5'11" (180 cm)

Weight : 90 lbs (41 kg)

Zodiac Sign Representation : Scorpio

Blood Type : A+

Home : Pavonnay (Aspertia City), Unova (USA)

Nature : Jolly

Signature Move : Leaf Tornado

"Anthem" : Out of the Woods by Taylor Swift

650 : Marisson (Chespin)

Name Given : Marius

Race : Earthling

Gender : Born Male ; Bigender

Height : 5'3" (160 cm)

Weight : 121 lbs (55 kg)

Zodiac Sign Representation : Libra

Blood Type : A-

Home : Quarellis (Aquacorde Town), Kalos (France)

Nature : Relaxed

Signature Move : Rollout

"Anthem" : You're Going Down by Sick Puppies

722 : Brindibou (Rowlet)

Name Given : Bane

Race : Vastayan ; Cloudsdalian Tribe

Gender : Born Female ; Genderfluid

Height : 5'1" (155 cm)

Weight : 102 lbs (46 kg)

Zodiac Sign Representation : Pisces

Blood Type : O-

Home : Lili'i (Iki Town), Alola (Hawaii)

Nature : Brave

Signature Move : Leafage

"Anthem" : Ready Aim Fire by Blue Stahli

810 : Ouistempo (Grookey)

Name Given : Oakley

Race : Vastayan ; Shimon Tribe

Gender : Born Male ; Apogender

Height : 5'9" (175 cm)

Weight : 150 lbs (68 kg)

Zodiac Sign Representation : Capricorn

Blood Type : O+

Home : Paddoxton (Postwick), Galar (England)

Nature : Adamant

Signature Move : Branch Poke

"Anthem" : The Jungle by Zayde Wolfe

906 : Poussacha (Sprigatito)

Name Given : Pacifica

Race : Vastayan ; Vesani Tribe

Gender : Female

Height : 5'7" (170 cm)

Weight : 141 lbs (64 kg)

Zodiac Sign Representation : Gemini

Blood Type : A+

Home : Cuchalaga (Cabo Poco), Paldea (Spain)

Nature : Naive

Signature Move : Magical Leaf

"Anthem" : Magic by Mystery Skulls ft. Brandy & Nile Rodgers

[inspirationinbadthings]

FIGS// ANATOMY OF A CHAMPION (DC) from LANA SENAOUI on Vimeo.

Team USA for FIGS Olympics campaign.

Director: Lana Senaoui Production Company: ProdCo Founders / EPs: Ian Pons Jewell & Zico Judge EP: Jon Adams Head of Production: Sam Levene Producer: Kat Armour-Brown PM: Lottie Aspinall Post producer: Ann Mykhailenko

Agency: Mother London CCO: Felix Richter Creative Director: Derek Man Lui & Tomas Nathan Coleman Copywriter: Michael Swinburn Agency Producer: Sam Rendle Short

Client: FIGS CMO: Bené Eaton Senior Director of Brand Marketing: Sabrina Tager Senior DOP (Film & BTS): Sam Pepke

Service Production: Freenjoy / US Unit Line Producer: Lisa Arianna Production Manager US: Kent Youngblood 1st AD: Paul Chaupout 2nd AD: Kevin Jackson 2nd Unit DOP: Iain Trimble

Editorial Company: Shift Post Editor: Paul O’Reilly Color grading: nadia.khairat Music: by Phil Kay Sound design: Khaled Hamdy

Wardrobe Stylist: Ann-Marie Hoang Makeup & Hair Makeup Artist: Dee Sandella SPFX Makeup: Lawrence Mercado & Chloe Sens Hair: Lauren Rennells

VFX: Time Based Arts Executive Producer: Josh Robinson Producer: Jo Gutteridge Assistant Producer: Lily Barron 2D Lead: Richie White & Timo Huber 2D Team: Matt Shires, Ria Shroff, Danny Peoples, Liam Doyle, Manolo Perez, Ross Ferguson & Grant White Design: Stephen Ross

Additional VFX:
Telitsyn Dmytro
Kostiantyn Kokariev Mastering: Vitalii Konovalenko

Storyboard artist: Christelle Halal

[worldanvil]

Comedy Science Fiction with Andy Law (Part 2)

To celebrate Douglas Adam's iconic "Hitchhiker's Guide to the Galaxy" we're talking about Comedy Science Fiction. Comedy Scifi is an oft-forgotten genre, but from "Galaxy Quest" to "Rick and Morty" to "Starter Villain" by John Scalzi, it's an increasingly popular take on far future worlds! Join Janet Forbes, Kat Bradbury and Andy Law as we delve deep into how to make the future funny, as well as what to avoid!

https://www.rookerypublications.com

@lawhammer.bsky.social

@coffeecupkat.bsky.social

WORLDBUILD WITH US!  Create a ✨free✨ World Anvil account today! Worldbuilding software, campaign manager and novel writing software. Created by two nerds, run with love & passion, supported by the friendliest community on the internet 🥰🥳 📌Website: https://www.worldanvil.com Reddit: https://www.reddit.com/r/WorldAnvil​   Discord: https://discord.gg/cxKYPrD Facebook: https://www.facebook.com/groups/worldanvil

WHAT IS WORLD ANVIL? All-in-One digital toolkit for Gamemasters, Writers and Storytellers. ✒️ Templates designed by professional worldbuilders 🗺️ Clickable maps - link to your lore... or to more maps!  ⌛ Timelines - keep your chronology clear 🌳 Family trees - Track bloodlines & succession 🧠 Mind maps & Diplomacy Webs - Visualize plots, relationships & more!  📖 Manuscripts - Plan, draft & publish a novel or serial fiction 🧙‍♂️ Storyteller Screen - Keep stats, lore & notes in one browser tab 💻 Plus + Check out our NEW easy visual editor! 🪄

grab the latest podcast episode 👉

[leanstooneside]

Half a loaf is better than none

• Prince Charles's swooning arm

• James Patterson's one-eyed lower leg

• Tiffani Thiessen's funded bottom

• Mel B's academic breast

• Melissa Rycroft's premium breast

• Jesse James's convex ankle

• Mo'Nique's executable lower leg

• Dwayne Johnson's corroborated upper arm

• Kat DeLuna's discovered tooth

• Dr. Dre's entangled calf

• Alexis Bledel's bullied lower leg

• AnnaLynne McCord's answerable hair

• Barbara Walters's verifying thigh

• Madonna's elven nose

• Joe Francis's evaporated hand

• Taylor Lautner's solid-state forehead

• Heather Morris's lowering back

• Kate Walsh's trapped thigh

• Tommy Lee's plausible thigh

• Stephen Colletti's gleaming hip

• Martin Lawrence's trying thumb

• Mindy Kaling's subordinate belly

• Jenna Ushkowitz's subordinate chin

• Sandra Oh's designing forehead

• Nicole Richie's burial ankle

• Carson Daly's synonymous hip

• Kelly Ripa's peevish shoulder

• Wiz Khalifa's muscled arm

• Busy Philipps's indiscriminate head

• Derek Jeter's melodic hand

• Cheyenne Kimball's disheartened belly

• Jerry O'Connell's doable leg

• Ashley Greene's listening nose

• Forest Whitaker's joining wrist

• Prince William's worst-case finger

• Liam Payne's cathartic mouth

• Anne Hathaway's veering breast

• Jaden Smith's hitless leg

• Anna Faris's exasperated forearm

• Phil Mickelson's opportunist fist

• Adam Duritz's prerequisite leg

• Benji Madden's chipotle upper arm

• Randy Jackson's pervasive upper arm

• Lucy Hale's workable eyebrow

[anibal11]

FIGS// ANATOMY OF A CHAMPION (DC) from LANA SENAOUI on Vimeo.

Team USA for FIGS Olympics campaign.

Director: Lana Senaoui Production Company: ProdCo Founders / EPs: Ian Pons Jewell & Zico Judge EP: Jon Adams Head of Production: Sam Levene Producer: Kat Armour-Brown PM: Lottie Aspinall Post producer: Ann Mykhailenko

Agency: Mother London CCO: Felix Richter Creative Director: Derek Man Lui & Tomas Nathan Coleman Copywriter: Michael Swinburn Agency Producer: Sam Rendle Short

Client: FIGS CMO: Bené Eaton Senior Director of Brand Marketing: Sabrina Tager Senior DOP (Film & BTS): Sam Pepke

Service Production: Freenjoy / US Unit Line Producer: Lisa Arianna Production Manager US: Kent Youngblood 1st AD: Paul Chaupout 2nd AD: Kevin Jackson 2nd Unit DOP: Iain Trimble

Editorial Company: Shift Post Editor: Paul O’Reilly Color grading: @nadia.khairat Music: by Phil Kay Sound design: Khaled Hamdy

Wardrobe Stylist: Ann-Marie Hoang Makeup & Hair Makeup Artist: Dee Sandella SPFX Makeup: Lawrence Mercado & Chloe Sens Hair: Lauren Rennells

VFX: Time Based Arts Executive Producer: Josh Robinson Producer: Jo Gutteridge Assistant Producer: Lily Barron 2D Lead: Richie White & Timo Huber 2D Team: Matt Shires, Ria Shroff, Danny Peoples, Liam Doyle, Manolo Perez, Ross Ferguson & Grant White Design: Stephen Ross

Additional VFX:
Telitsyn Dmytro
Kostiantyn Kokariev Mastering: Vitalii Konovalenko

Storyboard artist: Christelle Halal