#matt roth

[arcanespillo]

also please tag the person you're thinking about while voting this? it's not useful to the poll i just wanna know.

[gotham-at-nightfall]

Titans #15

[mikyapixie]

💙💜💚💙💜💚💙💜💚

[jokeanddaggerdept]

[nitpickrider]

I wonder how often people use hanging out with Daredevil as an excuse to make the worst puns of all time.

Captain America 341

[disneytva]

In honor of #DisneyTVA40 the Disney TVA Threads/Tik Tok/IG account showcased a video of Zeno Robinson's roles over the studio's history from Big City Greens to The Ghost And Molly McGee. ✨

[brokehorrorfan]

Mutant will release When Evil Lurks by Matt Ryan Tobin, Late Night with the Devil by Sara Deck, and Thanksgiving by Oliver Barrett tomorrow, May 31, at 1pm EST.

When Evil Lurks is an 18x24 screen print limited to 65 for $50 with a Spanish variant limited to 65 for $50. Late Night with the Devil is a 24x36 screen print limited to 115 for $65 with a variant limited to 65 for $80. Thanksgiving is a 24x36 screen print limited to 190 for $65.

[denimbex1986]

'There is a scene towards the beginning of Anthony Minghella’s 1999 film, The Talented Mr Ripley, when Jude Law’s character, Dickie Greenleaf, asks Matt Damon’s Tom Ripley what his talent is – to which literature’s most famous fraud replies with: “Forging signatures, telling lies, impersonating practically anybody”. Yet there is another talent of Tom’s that is essential in his ability to deceive those around him into thinking that he is one of them – and that’s his sartorial savoir-faire.

Fashion is of vital importance to Tom, in both the novel by Patricia Highsmith and subsequent adaptations, including that 1999 film, but also 1960’s French New Wave retelling, Purple Noon, and the upcoming black-and-white Netflix version, Ripley, starring Andrew Scott in the titular role. The style of the 1999 movie – Jude Law’s polo shirts, white trousers and boat shoes, Gwyneth Paltrow’s high-waist bikinis, broderie anglaise tops and peasant skirts – is still referenced by designers today (it won costume designer Ann Roth an Oscar at the time).

And while Matt Damon’s character is certainly au fait with fashion, he’s without the means to access it in the same way that the other characters are: he has one shirt he washes out nightly, a threadbare cord jacket Dickie offers to replace, and one pair of dress shoes that he has to wear to the beach. In many ways, the film is at pains to emphasise that, though Tom is good at what he does, he’s not quite good enough – after all, Dickie, Marge (Paltrow) and Freddie Miles (Philip Seymour Hoffman) all figure him out. Yet it is with fashion that he manages to move in these circles. In fact, it’s how he accesses them in the first place, having borrowed a Princeton jacket for a piano recital when he first encounters Dickie’s father, who mistakes him for a student and pleads with him to fetch home his wayward son.

In the novel, Tom is obsessed with clothing, spending hours touching Dickie’s shirts and jackets or fingering the jewellery on his dressing table, saying that doing so “reminded him he existed”. His spectacles serve as a way to switch between characters – like a villainous Clark Kent and Superman – while his decision to wear Dickie’s monogrammed velvet slippers and signet rings after he has (spoiler alert) murdered him, alerts Marge and Freddie to the fact something isn’t right.

Fashion is often used by literature’s anti-heroes as a significant tool in their arsenal to deceive...

“The way we dress does, to an extent, affect how people see us, but it’s context dependent,” explains Dr Dion Terrelonge, a fashion psychologist. “It’s about alignment and how we fit in with people’s expectations. We like to think we don’t judge others based on what they are wearing, but we do. It’s not a negative judgement, necessarily; it’s about interpreting and categorising. It helps us navigate the world.”

Whether or not you wield that power for good or for evil is the differentiator. “When you wear an item of clothing that you associate with a certain person, lifestyle or behaviour, then you’re far more likely to take on those things,” explains Dr Terrelonge. “When people copy other people’s style, they’re trying to align themselves with them and their lifestyle. It’s walking 100 miles in their shoes. It’s shorthand for, ‘this is the kind of person I am’ – you look the part.”

For conners, it’s “fake it til you make it” or “dress for the job you want” writ large. As Tom famously says in his final speech in the film, “I thought it was better to be a fake somebody, than a real nobody.”'

[junebug-the]

New Author, Who This?

Howdy! If you've seen @poptartportfolio's art of my Spartan, you'll most likely have seen the writing that went with it. If not, you can see both here:

Spartan Luck – Google Docs

A collection of a Spartan-III's jumbled thoughts as she reflects on her life with what little focus she has left.

This piece also has a follow-up!

Not Dead Yet – Google Docs (A fair warning for the fun details of an AI breaking down slightly and the treating of blood and wounds.)

The Spartan's AI partner fighting as hard as she can to prevent the end, even if she's slipping away just as fast.

And on top of those two halves of one story, I also have a recently-finished piece. A tale of wounds of war and those left behind with the memories. The strange bonds that can form between wounds when they refuse to heal on their own.

Lost, But Not Forgotten - Google Docs

I hope you enjoy <3

[hardcore-direwolf]

Imagine one of these girls accidentally waxing Ophelia's eyebrows off, getting chased around the mountain, being hunted everywhere they go, and having their head shaved bald off of their hair by Ophelia for payback. This was inspired by Jade West and Cat Valentine from Nickelodeon's Victorious. By the way, the younger boys will most likely hiding one of these ladies while Conner, Kaldur, Victor, and Nathan hold Ophelia back from killing them with that exact pair of murderous scissors from "The Scissoring" from Nickelodeon's Victorious.

Ophelia:

M'gann (Cat) when Ophelia (Melanie/Jade) finds out:

Kaldur'ahm & Ophelia:

[koskela13]

EVERYONE IN THE TGAMM FANDOM: Talks about Oliver and gets into ship wars between Molly, Libby and Andrea

ME: Is thinking about a crossover AU with Amphibia where Molly befriends Ivy and the latter has to pretend to be Canadian

[gotham-at-nightfall]

Raven faces her darkest self!

Titans: Beast World #6

[myvinylplaylist]

David Lee Roth: A Little Ain't Enough (1991)

Warner Bros.Records

[disneytva]

Penny Proud,Scratch McGee,LaCienega,Darryl McGee,Dijonay,Libby Stein Torres,Maya,Andrea Davenport,King Andrias and Molly McGee and a cast of thousands on the season finale event with two delays in the making....🟣 👻 🐸

Check out the synopsis of “Chibi Villans Unite” coming March 4th at 7:30PM EST only on Disney Channel.

[denimbex1986]

'In the pantheon of cinema’s most stylish films, The Talented Mr. Ripley always makes the cut. The 1999 adaptation of Patricia Highsmith’s classic novel—starring Matt Damon in the title role, alongside Jude Law and Gwyneth Paltrow—is a sartorial fever dream, transporting viewers to a 1950s Italian Riviera where camp shirts, dreamy tailoring, and colorful swim trunks intertwine with a psychosexual thriller for the ages. The film’s atmosphere is deeply unnerving, and by its breathless conclusion, we’ve learned the clothes have played a pivotal role in seducing the audience along the way. That’s because the character of Tom Ripley is all about presentation. We see him the way he wants us to see him—which makes his story, in any format, a luscious opportunity for fashion as storytelling.

Netflix’s Ripley—created, written, and directed by Steven Zaillian, and starring Andrew Scott in the lead role and Dakota Fanning—revisits Highsmith’s source material to stunning effect. While there are winks to the 1999 film, this new eight-episode miniseries makes a dramatic departure from the sun-drenched, color-saturated world we thought we knew, bringing us instead into a sleek, black-and-white reimagining of the novel. In Ripley’s grayscale world, clothing exudes mystery and meaning, and a monochromatic presentation serves only to heighten the textures and silhouettes we see onscreen.

Bazaar caught up with Giovanni Casalnuovo, who codesigned Ripley’s costumes alongside Maurizio Millenotti, to learn more about how the duo dressed this iconic story in a brand-new way.

What was your overall thesis for bringing this novel to life through costume?

Our core approach to costuming Ripley was to create a visually distinct world that captured the essence of the novel while offering a new perspective compared to the previous adaptations.

The Talented Mr. Ripley is considered one of the most stylish films of all time. How did you seek to reference—or deviate from, without referencing—that film?

The 1999 film is a true style inspiration, and Ann Roth’s and Gary Jones’s costume design is undeniably iconic. We approached our series with immense respect for their work, but with a distinct focus. Our guiding light was the exceptional script, which served as a brilliant translation of Patricia Highsmith’s captivating novel. We saw an opportunity to delve deeper into the complexities of the characters and their journeys, crafting a visually distinct world that honored the richness of the book.

This meant going beyond referencing the film’s stylistic choices. The black-and-white format itself presented a unique challenge. While the 1999 film used color to great effect, we had to rely on other elements to differentiate characters and portray social standing. This constraint became an exciting opportunity to explore silhouette, texture, and patterns in even greater detail. For example, a character’s social status might be hinted at through the sharpness of their suit or the quality of the fabric. Similarly, a bold geometric pattern could suggest a rebellious spirit, while classic stripes might convey a timeless elegance. These details, meticulously considered thanks to the script’s depth, became a silent language woven into the costumes.

While viewers familiar with the film might recognize subtle echoes here and there, our overall goal was to create a different and unique costuming experience that pays homage to the novel’s complexities.

Did the black-and-white format feel daunting going in? Did you also see it as an opportunity?

Black-and-white was definitely frightening at first! In today’s world of vibrant color films, it felt like a bold choice. We, as costume designers, are used to relying on color to define characters and set moods in scenes. But as we delved deeper, the limitations of black-and-white became a fascinating creative challenge. Instead of color, we focused on the interplay of patterns, textures, and silhouettes. This forced us to be incredibly meticulous in our costume design. Each detail—a bold geometric print, a luxurious velvet fabric, a sharply tailored cut—became a powerful tool to tell the story. In the end, the black-and-white palette pushed us to create a world with a unique visual language, one that is both elegant and deeply evocative.

Where did you source costumes for Ripley? How much was purchased, or sourced, or vintage, versus how much was built or created?

Sourcing costumes for Ripley involved a multipronged approach. We aimed to create a world that felt authentic to the period while offering a fresh perspective.

We scoured vintage stores and collectors for unique pieces that captured the essence of the era. These finds added a layer of authenticity and visual interest. However, due to the need for duplicates for some scenes, not all vintage pieces were viable options, and we used vintage mostly for extras.

For almost all the main cast, we collaborated with tailors and costume makers to create bespoke pieces. This allowed us to achieve the perfect fit, style, and details that aligned with our vision. And certain wardrobe staples were sourced from established costume houses or reputable retailers. This ensured a foundation of high-quality garments that could be adapted or accessorized for different characters.

It’s difficult to provide an exact percentage breakdown, but we aimed to strike a balance between the unique character offered by vintage finds, the precision of custom creations, and the practicality of purchased staples.

Were any pieces particularly difficult to get right?

There were definitely some costume pieces that demanded extra attention! One standout was Dickie Greenleaf’s (played by Johnny Flynn) shoes. Re-creating those iconic loafers with all the intricate details in black-and-white was a fascinating challenge. We had to focus on the silhouette, the texture of the leather, and the subtle shine to capture their essence. Another interesting story involves Marge’s (Dakota Fanning) swimsuit. Finding the perfect one that conveyed her carefree spirit while translating well to black-and-white was tricky. We explored many options, ultimately landing on a design with a unique geometric pattern that pops onscreen and hints at her personality.

But perhaps the biggest challenge was Tom Ripley’s entire wardrobe. In color, you can use clothing to showcase wealth, taste, or social status. In black-and-white, we had to rely on other details. Tom’s clothes often have subtle textural variations or interesting tailoring to suggest his background and differentiate him from the more affluent Dickie. It was a meticulous process, but one that ultimately helped define Tom’s character visually.

Are there details from any of the costumes that you’re especially proud of?

There are definitely some costume details we are particularly proud of! One challenge was creating signature pieces for specific characters. Dickie’s ring and cuff links, for example, were meticulously designed and handcrafted especially for the show. Capturing the essence of the era in those bespoke pieces was a rewarding process. However, sometimes the most impactful details are more subtle. We were fortunate to discover a treasure trove of vintage fabrics from the ’50s. Sourcing these fabrics allowed us to create authentic costumes for the main cast. One specific detail I love is the use of a houndstooth pattern in silk. It’s a subtle nod to the era, and the black-and-white palette of the series allows the texture of the fabric to truly shine. It might go unnoticed by some viewers, but it adds a layer of authenticity that I find deeply satisfying.

Dakota Fanning is an actress with incredible personal style. What was she like to work with?

She is an absolute dream to work with! Her talent and dedication are matched only by her kindness and positive spirit. She definitely has a strong sense of personal style, and we had some fantastic conversations about how her character’s wardrobe could reflect that. Dakota was incredibly collaborative throughout the process. She always came prepared with thoughtful ideas about her character’s motivations and how clothing choices could express those. At the same time, she was incredibly open to our suggestions and loved exploring different options. There was a real sense of mutual respect and creative exchange, which ultimately led to some inspired costume choices for her character.

Do you have a favorite fashion moment from Ripley the audience should watch out for?

We relied heavily on details—a sharp geometric pattern hinting at personality, a luxurious fabric texture suggesting wealth, a contrasting silhouette creating unease. These details subtly evolve and interact with the story, creating a depth and intrigue we believe viewers will discover as they watch. We encourage viewers to pay close attention to how the costumes transform and interact with the story. … The intricate details woven into each piece add another layer of meaning to your viewing experience.'

[koskela13]

Okay, yeah, “Heart” and “Leaves” do make more sense.

If Bill Cipher ever met any other characters, what names do you think he'd give them?

So far, I have "Fluffy" for Anne, "Wannabe" for Luz, "Chairman" for Molly* and "Bedhead" for Ivy.

*Because Molly was the one who killed the original Chairman, and he believes that, since whoever vanquishes the Chairman becomes the new Chairman, she should be the rightful ruler of the Ghost World.

I’d say that he’d probably call Anne and the other Trio by their gem names (Heart, Wit, Strength) but also taunt Anne a bit by calling her “Leaves” considering the foliage in her hair.

Bill Cipher Chairman denier, rejects the Ollie Chairman and considers him a usurper to Molly’s throne.