Off Campus (2026) created by Louisa Levy

After watching uncarley’s video on this wild show, I decided to start watching it ironically. Jokes on me, because I had too much fun while watching this. The only way to get me to watch sports media is to sprinkle in sex apparently (à la Challengers). I’ve attended one hockey game in my entire lifetime, but no one is here for the hockey. You’re here for John Logan and Justin Kohl, or at least I am. Why is the cast so damn beautiful?! These men don’t exist in real life, but who are we kidding — this is a fantasy world where a hockey frat house is the safest space for a drunk woman.

The Odyssey (2026) dir. Christopher Nolan

Friend of a friend had extra tickets for the 70mm showing, so this was a last minute decision to attend the 2AM showing in Lincoln Center. It was packed and the audience was mostly well behaved, except for 2 men who were on their damn phones. One of them was scrolling on his damn phone during the action scenes. Go home!!! Besides that, this was a legendary theater experience. The large screen and deafening volume really immerses you. One of my favorite scenes is the siren scene. Fog obscures the alluring beings and the death surrounding them. Things are being withheld from you, both visually and auditorily. It’s simple, but effective. I agree with some of the discourse floating around online (like the weak screenplay), but overall I had a really good time. This was worth fucking up my sleep schedule for. Maybe cinema isn’t dead after all.

Exhuma (2024) dir. Jang Jae-hyun

The comparison to Na Hong-jin’s The Wailing is impossible to avoid, but if you enjoyed that film, I recommend giving this a try. There’s shamans, malignant supernatural forces and a genre bending mystery to follow. If that’s not enough, there’s Lee Do-hyun covered in tattoos to drool over.

Sissi (1955) dir. Ernst Marischka

This historical film has been on my watchlist forever, mostly due to the famous portrait of Empress Elisabeth of Austria, who is the main character of this movie. I knew the costume design would be droolworthy and was not disappointed. Some of these dresses she wears makes me want to cry. That blue evening gown with the pink flowers rendered me speechless. All you can do is stare at how stunning it is. Literally everything is gorgeous and comforting to look at, and I expect the sequels will be the same. I hear everyone watches this during Christmas, and it’s easy to see why.

Seeking Persephone (2026) dir. John Lyde

Clips kept appearing in my feed like siren song and I finally gave in. The main hook is our main characters are like Hades and Persephone. It’s the Regency era, and the story also has Beauty and the Beast elements. This entire production is very low budget, but that doesn’t matter because the chemistry is palpable. It does give off fan fiction-y vibes, but that’s part of the charm. My brain is truly broken from modern media, because the very clearly gay/bisexual energy kept me hoping things would devolve into a threesome. They sadly don’t. On the flipside, this is a series you can watch with people because there aren’t any explicit scenes.

The Jane Austen Book Club (2007) dir. Robin Swicord

A cute feel-good movie about a group of women (and one man) who form a book club, is the perfect cure for a headache day. Each member’s lives conveniently follows a Jane Austen novel. There are several red flag moments, like Emily Blunt playing a French teacher who’s tempted by a high schooler. I spent a good 10 minutes trying to figure out if he was in high school, college or graduated but working in the bookstore. It’s not perfect, but Grigg (played by Hugh Dancy) is. This man loves reading science fiction, but will eagerly read Jane Austen. He also adores dogs, decorates for Halloween and cycles everywhere. Peak feminine gaze.

Clockwatchers (1997) dir. Jill Sprecher

Everything I’ve watched starring Parker Posey has been a hit. The cast is full of talented individuals like Toni Colette, Lisa Kudrow and Alanna Ubach. Colette plays Iris, who starts a new job at a credit company. This is the world before open office concepts and remote work. A friendship forms between all the temps as they attempt to navigate office politics and personal lives. As someone who used to be an office manager, this story hit too close for comfort. The soul sucking life in the corporate world is something I would never wish on my worst enemy. Costumes hold up and are used to further character development. Sprecher captures toxic corporate culture perfectly and I’m devastated she didn’t do more films.

Dune: Prophecy (2024) showrunner Alison Schapker

I ended up abandoning this show last year for no specific reason, but returned specifically to stare at Josh Heuston (who played Justin in Off Campus). Some parts kinda drag, but I enjoyed exploring this world again. Bene Gesserit are some of the most interesting parts of the Dune universe and this series dives deep into the sisterhood. The costume design is a treat to look at. Making darker fabrics pop on screen and look interesting is very difficult. From what I saw, season 2 will release sometime this year, probably near the third movie for maximum impact. Villeneuve's Dune preview at the beginning of The Odyssey made me so hyped for December.

Sisters of the Gion (1936) dir. Kenji Mizoguchi

Two sisters, two geishas with two different viewpoints of men and their profession. I’m slowly embarking on another video essay (send your thoughts and prayers). Happy to report this was worth my time, but unhappy to report that men are still men.

Deceiver (1997) dir. Jonas Pate + Josh Pate

It’s very clear that the directors watched one too many noirs and crime dramas, but didn’t bother to look up how anything worked. The constantly changing aspect ratios drove me crazy, even though I understand why they did it. Plot is convoluted and full of twists, but it’s still boring somehow. Don’t watch this if you don’t care about Tim Roth, because he’s the only reason to continue watching. Thirsty fans will be rewarded with him tied to a chair, winking after lighting a cigarette and glaring menacingly.

Private Detective 62 (1933) dir. Michael Curtiz

William Powell hot. It’s my belief that every budding film lover should watch a pre-code movie. The Thin Man is a better detective film, but this one is a good follow-up piece.

🔁 Sabrina (1954) dir. Billy Wilder

Audrey never fails to steal every single scene she’s in. Typical of a Hepburn flick, the love interests are questionable. The visible age gap with Linus still makes me cringe, but I’m mostly annoyed because his character trope is one of my favorites. It’s the cold, stoic and capable types that really appeal to eldest daughters. There was a ton of on-set tension between him and Wilder, but the final result is still somehow magical.

In a Lonely Place (1950) dir. Nicholas Ray

Ooop, I’m back with another Bogart picture. I enjoyed this more than I thought I would. It’s very noir-esque, but there’s something else in the mix. Both of our leads are at the top of their game. If anyone watched the Donald’s Diary short like me, you will recognize the infamous lines that originated from this film.

The Snows of Kilimanjaro (1952) dir. Henry King

This is what happens when you watch a random movie solely because beautiful people are in it. Plot summaries would lead you to believe this is an exciting movie, but it’s not. This movie is like 80% flashbacks and about 30 minutes too long. There are roughly 3 sexually charged cigarette lighting scenes (my favorite) in this, and the first two with Ava Gardner are superior. Only thing pulling me through was Peck’s handsome face.

Looking ahead to September and beyond, movie releases will start to ramp up. I’m super excited for Sense and Sensibility remake in October, here’s hoping it’ll be another enjoyable entry for Jane Austen fans. I would’ve preferred an updated version of a lesser known Austen story, but here’s hoping they continue their Regency remakes.

Want to see what I’m watching in real-time? Go follow me on Letterboxd!

The official definition of a “coffee table” book is an oversized book, usually hardcover, and sitting on a table in your living room where guests can flip through. Some consider them decorations, but in my space, these books don’t live on the coffee table at all. They’re stacked at the bottom of my (definitely not mounted to the wall) bookshelf. These heavy tomes are resources I can reference anytime, no internet connection needed. Not only are they useful for video essay research, they also reinvigorate me when I’m feeling uninspired. Why doom scroll when you could be flipping through glossy pages chock full of beautiful photos?

The best part about coffee table books is the variety of topics; there’s something for everyone. Classical oil paintings? Palace interior design? Vintage sports cars? Gorgeous libraries from around the world? WWII battle maps? Japanese street fashion? Showing off your unique interests is very easy.

One of my first purchases was Dressing a Galaxy: The Costumes of Star Wars. I bought it for $40 in 2015! Getting a copy of this secondhand will cost a fortune nowadays. Costume designer, Trisha Biggar includes many construction details that will satisfy cosplayers and Star Wars nerds alike. The MET hosts a fashion exhibition every year and I always make sure to buy the companion book (as long as the photos are clear, I’m looking at you 2018’s Heavenly Bodies). Film concept art gets compiled into one picture book; I’m still holding out on finding a secondhand version of Star Wars Art: Ralph McQuarrie. Books are always being added to my never-ending wish list.

You cannot deny that one of the best things about these books is the high quality photographs. They’re typically printed in full color and show closeups of the garments. Sketches, concept art and rare behind-the-scenes photos will often be included, making these books a treasure trove for film and fashion nerds everywhere. The best books will also have details straight from the costume designer and/or director. Michele Clapton’s Game of Thrones: The Costumes has detailed images of the gorgeous embroidery, plus tons of information that you won’t find anywhere else. Recently I’ve been grabbing books on Old Hollywood, since finding non-blurry photos online is very difficult.

If you were a guest in my apartment, here are some of the books you could browse through:

Some tips if you want to start collecting or browsing:

• Look it up your favorite movie and see if there’s a companion book.

  • Don’t have a system for keeping up with new releases, but certain publishers are known for their “making of” film books. For example, Del Toro’s Frankenstein book was published by Insight Editions. Mack Publishing also has a lot of A24 related titles.

• Take advantage of newsletter signup codes and flash sales, especially since these books are pricy. Besides limited or deluxe editions, you don’t need to buy it right away.

• You might find some older editions at used book shops and library sales.

• Setup price alerts for Amazon listings (using a service like Camelcamelcamel). I was able to get The Art of Disney Costuming for $25 this way.

  • Amazon is evil, so this method has decreased for me in the past couple of years, but no judgement if you’re trying to save money.

• Check your local library to see if they have these books in their system.

At the end of the day, these books are heavy, expensive and take up a lot of space, so make sure you pick up ones that matter to you. Choose carefully. Avid readers know the pain of diminishing shelf space. Hell, you don’t even have to own the books to get the full experience. Relying on digital collection or a personal journal full of printed images works too.

Here’s all the movies we’ll be talking about today:

At a glance:

• Total movies = 39

• Black-and-white movies = 8

• Movies in color = 31

• Animated movies = 12

• Movies based on Hans Christian Anderson’s The Little Mermaid = 8

• English language movies = 26

• Non-English language movies = 13

• Oldest movie = La Sirène (1904)

• Newest movie = Barbie (2023)

Observations:

In terms of hair color, blonde mermaids were the most popular.

Famous blonde mermaids include Aquamarine, Madison and Miranda. I included strawberry blondes in my count (Lenore from Mr. Peabody and the Mermaid + mermaid from She Creature). Only two characters had colorful streaks in their hair (Merliah + Aquamarine, both blondes).

Brunettes came in second place, but the number will vary if you don’t count really dark brown/black hair as “brunette”. The rarest hair color was green. We see it in 1976’s The Little Mermaid (pre-witch bargain) and the one mermaid from Hook.

Which country is the most obsessed with mermaids? USA wins with 23 movies.

It’s hard to compete with the Hollywood machine. UK came in second place, but realistically China would likely have more (but I didn’t include those movies in this list).

18 mermaids lost their tails when they went ashore or at some point in the movie.

Many of these entries are based on The Little Mermaid, but not all of them. Directors will do this to save money (less time and money spent on CGI-ing a tail) and make certain scenes easier to film. If it isn’t a magical invisible force transforming their tails, it’s something like a shell or a sea witch bargain.

Shoutout to the movies where mermaids keep their tails for the entire film, like in Miranda, where the mermaid manipulates men to carry her around everywhere (peak main character energy). In Blue My Mind, Mia eventually loses her human legs at the end of the film.

Only 5 out of the 39 films were directed by women.

3 of them are in my top favorites from this list: The Lure (2015), Blue My Mind (2017) and Aquamarine (2006). All of them are coming-of-age stories, with two of them putting a darker spin on girlhood and subverting the typical mermaid aesthetic. I can also say that the tail special effects really hold up.

4 movies take place in the Barbie universe.

Majority of these were the 3D animated movies, and I’m including the live action Barbie in my count. One of these films has a fascist dictator mermaid (and it’s not the Greta Gerwig one).

To no one’s surprise, mermaids aren’t very diverse on screen.

There are only 3 black mermaids represented: Hallie Bailey as Ariel, Sienna King as her sister Tamika, and Sanya Hughes, an unnamed mermaid from the Pirates of the Caribbean: On Stranger Tides. We have about 6 Asian mermaids, but they’re filmed for their respective markets. There are no Asian mermaid leads in American films, unless you count The King’s Daughter but that terrible CGI makes it hard to recognize Fan Bing Bing (so I don’t count it as good representation, that and she doesn’t even speak a word).

It seems the mermaid representation is always the background. Daphne Joy, a Filipino actress and Jorgelina Airaldi (from Argentina) play supporting mermaids in Pirates of the Caribbean: On Stranger Tides. In the 2023 live action The Little Mermaid, we also have Simone Ashley, Lorena Andrea, and Karolina Conchet cast as Ariel’s sisters.

Blue is the most popular mermaid tail color.

Both teal and light/dark blues were included in my count. Blues are a safe choice; they match the ocean and nautical motifs. Rarest tail color was yellow, with Indira, Adella and the dying mermaid from Mermaid in a Manhole sporting the hue.

Final thoughts:

• 🧜‍♀️ Favorite film = Hans Christian Andersen’s The Little Mermaid (1975)

• 🧜‍♀️ Least favorite = Mermaids of Tiburon (1962)

• 🐚 Biggest surprise = Night Tide (1961)

• 💙 Thought I would love, but hated = Splash (1984)

• 💔 Thought I would hate, but loved = Barbie in a Mermaid Tale (2010)

• 🫧 Most visually appealing = The Little Mermaid (1968)

• 🦪 Scariest tail = The Lure (2015) + Blue My Mind (2017)

• 🪸 Would watch again = Miranda (1948)

You can find the Letterboxd version of this list here, plus go follow me if you haven’t already!

Leslie Caron: The Reluctant Star (2016) dir. Larry Weinstein

You might know Caron from her dancing alongside Gene Kelly in American in Paris. This documentary follows her sudden rise to stardom and what happens after the whirlwind of Hollywood. Her beauty and glamorous energy are still apparent after all these years. What an icon.

Written on the Wind (1956) dir. Douglas Sirk

A movie starring both Lauren Bacall and Rock Hudson is a recipe for success in my book. There’s yearning, doomed marriages and murder accusations to enjoy. It’s heartbreaking and beautiful to look at, which means I’m guaranteed to love it. The color is really lush and feels like candy for your eyes. Man, they don’t make them like this anymore. I’m really finding myself more and more drawn to Sirk’s work. This man loves a melodrama (and so do I).

Footlight Parade (1933) dir. Lloyd Bacon

Oh no…is James Cagney kinda hot? Need to watch a couple more movies to make sure. Instead of the typical tough guy roles, he plays a Broadway producer who switches gears and creates live prologues for the movies. This film is famous for its water ballet sequences that are equal parts mind-blowing and hypnotizing. I’m baffled at how cool it looks on screen. I’m pretty sure the synchronized dance scenes (like in Muppets Most Wanted and Don’t Worry Darling ) stems from this movie, that, or Busby Berkely in general? Warning: There’s an unfortunate yellowface dance scene, but that’s a common jump scare in these old movies.

🔁 Pride and Prejudice (1995) dir. Simon Langton

During this time it seems like I needed a comfort watch. Enter Jennifer Ehle and Colin Firth in Regency clothing. I’m a ride-or-die for the 2005 Joe Wright version, but this version is a close second. Since it’s a limited series, it has more time to adapt more scenes from the book. It also has Mr. Darcy in a soaking wet shirt (thank you to everyone involved).

Ready or Not 2: Here I Come (2026) dir. Matt Bettinelli-Olpin + Tyler Gillett

I kept getting teased by Hulu (thinking it was ready to stream a while ago), but it finally became available. The main reason I wanted to start this series is because of Shawn Hatosy. I know that we deserved a lesbian marriage at the end (and I agree), but personally, I was fine with what transpired on the screen (because of a certain 50 year old man). Samara Weaving in her black wedding dress is so beautiful it hurts. Love the sister dynamic. Really fun sequel that I’ll definitely rewatch.

Desire Me (1947) dir. George Cukor + Mervyn LeRoy + Jack Conway + Victor Saville

For a movie that was plagued with issues and switching up directors, I’m surprised this was semi-coherent. This was my jump back onto the “Robert Mitchum is hot” train. This time he plays a soldier who finally makes it back to his wife after the war. However his wartime buddy has come in his place and started to make moves on his wife (under the pretense that Mitchum’s character died in combat). Everyone who enjoys messy and dramatic stories will like this. The seaside village setting is an additional bonus.

Where Danger Lives (1950) dir. John Farrow

More Robert Mitchum, except he’s a doctor who falls in love with his patient. Unfortunately this wasn’t as memorable as the last movie. It’s missing something, but I can’t quite place my finger on what.

The Moment (2026) dir. Aidan Zamiri

This was so fucking funny. There are so many one-liners that made me actually laugh out loud. One of my favorite parts was the post-holistic facial scene, where Charli encounters Kylie Jenner and quickly unravels.

Obsession (2025) dir. Curry Barker

It took me forever to watch this, and now I’m sad that I wasn’t able to watch it in theaters. This Letterboxd review perfectly encapsulates my thoughts. At the very least, that part is actually woven into the plot. I hate it when horror directors include similar scenes for no reason. Excited to see more from Barker.

Pygmalion (1938) dir. Leslie Howard + Anthony Asquith

Oop, I rated this higher than My Fair Lady. Sorry Audrey; I admit your costumes are better though. The actor who plays Henry Higgins is more compelling (Leslie Howard), and way more gay-coded. I don’t even remember what the man in the 1964 version looks like.

The Umbrellas of Cherbourg (1964) dir. Jacques Demy

This is a 4.5 rating that should actually be a 5 star movie. Demy has done it again! During my first watch, I wasn’t prepared for a musical, so I put it on hold. Thank goodness I did, because this time around, I was locked and loaded. Every single line of dialogue is sung, and while that seems annoying, it works. The sets look gorgeous and every still could be a painting. Costumes are stunning. Themes of young love, status and regret are explored. If you want pastel hues with your heartbreak, watch this.

The Testament of Ann Lee (2025) dir. Mona Fastvold

Continuing my musical mood, I decided to watch this on a whim. Ann Lee is the founder of the Shakers, a Christian sect that was known for their unique methods of worship, including dancing. I love the way movement (and the dancing) is shot. It compliments the music and feeling of the scenes in a beautiful way.

Public Enemy (1931) dir. William A. Wellman

It’s another James Cagney movie (plus this film is related to an article I’m currently working on). You know I love a pre-code movie, and this gangster film has a lot going for it. My rating isn’t higher, because gangster films aren’t really my thing. It needed more Jean Harlow for a higher rating. Cagney walks around wearing a crooked hat and attitude to match. There is a certain unexpected scene that I will commend them for including. Plus let’s talk about that brutal ending! It’s one I won’t forget anytime soon.

🔁 The Hunger Games: The Ballad of Songbirds and Snakes (2023) dir. Francis Lawrence

Rewatched this while I was suffering from a headache, and Tom Blyth’s beautiful hair distracted me from my pain. Every time I watch this, I forget he shaves his hair during this and mourn silently. Lucy’s accent is controversial, but I’m getting used to it. I think they could’ve included one less song, and it would’ve been the perfect amount. “The Ballad of Lucy Gray Baird” is the pettiest song of the century. I’m really hyped for the upcoming Sunrise on the Reaping film. If you’ve never watched the Hunger Games series, I implore you to change that. The first movie is particularly good imo, and the books never feel like it dumbs things down. Even though it’s categorized as “young adult”, the story is universal.

Possession (1981) dir. Andrzej Żuławski

I couldn’t end the month without watching Possession in the same month as Obsession. Been putting this off for a while, but I decided it was time to take the plunge. Even with spoilers, I was still not prepared for the chaos. Isabelle Adjani brings 110% in everything I’ve seen her in so far. This is such an uncomfortable watch, but I couldn’t look away. Holy hell, I understand the hype. You can find me still thinking about this film days weeks after.

My August watches might be stressful, because I need to prep for another video essay. Fingers crossed it doesn’t kill me like the mermaid one. I’m still hoping to get some enjoyable summer watches in there.

Want to see what I’m watching in real-time? Go follow me on Letterboxd!

When I found out the exhibit wasn’t scheduled to travel anywhere outside of the state, the first thought that popped into my head: “How much do flights cost to Oklahoma?”. After doing some research, I enlisted the help of my sisters as travel companions and we set out on a direct flight to OKC Airport in mid-September. The exhibit was set to close on September 29th that year.

For those who weren’t able to make it, do not fret, I’m taking you along with me throughout the exhibit. I took copious amounts of photos, and you’ll see many of them later in this article. You can also watch this video from the museum’s YouTube channel, which has footage of what the space looked like. While I won’t write a blurb for every single piece, I’ll highlight some of my favorite pieces and interesting things I learned.

Who is Edith Head?

Head is a legendary American costume designer, who is one of the defining visionaries during the Golden Age of Hollywood. She has created iconic costumes worn by the likes of Audrey Hepburn, Barbara Stanwyck and Grace Kelly. Instantly recognizable by her dark cropped hair and round glasses, she’s one of the many inspirations for the fictional fashion designer, Edna Mode from The Incredibles. Her design work has earned her 8 Academy Awards, plus numerous nominations (35!), which likely may have been more if the category existed earlier. Costume designers weren’t eligible for an Oscar until 1949.

OKCMOA

We didn’t rent a car for this trip, so we took the OKC Streetcar and walked. In typical Virgo fashion, I prebooked the tickets online, which came out to $20/pp.

The entire museum can be explored in an afternoon; they have a modest permanent collection that includes a Georgia O’Keeffe painting. If you’re into glass, they also house the largest Dale Chihuly collection in the world. The Persian Ceiling is stunning! At the time we visited, Rodin’s The Three Shades were also on display. Overall, the crowds weren’t bad, but then again everything is heaven compared to the MET on a Saturday afternoon.

Exhibit introduction:

A maroon sign welcomes you with a short introduction about Edith Head’s life and career. Outside of her work at Paramount and Universal Studios, she also published two books and shared her fashion advice in a myriad of ways (tv, radio, magazine columns).

First thing you encounter is this showstopping red gown worn by Olivia de Havilland in The Heiress. It’s jarring to see the actual colors of garments when you’re so accustomed to seeing them in black-and-white. Her first Academy Award is shown alongside the gown, sitting in a glass case. According to the accompanying label, the director, William Wyler was obsessed with historical accuracy and sent Head on a textile research trip to New York City. The final silk velvet and taffeta gown has beautiful ruched iridescent fabric detailing on the edges of the sleeves, bodice and skirt.

Next up is a section about her signature style. I’m going to skip forward to the costumes, but if you’re interested, the full exhibition label text pdf can be found here!

I’m also skipping these sections (this article is long enough already), but you can read the full text in that linked pdf:

• Edith Head’s signature style

• Screenings of The Costume Designer documentary + Roman Holiday screen tests

• Edith Head & Oscar

• Edith Head at Universal Studios

Designing for the character

Head’s design philosophy prioritized the film’s story first and foremost. Who is this character really? What kind of clothes would this woman wear in daily life? How do their outfits change over time as they develop further into the story?

Many actresses enjoyed working with her, because she also took into account their body types and insecurities. As a result, her stars felt confident and comfortable while on screen. The continuous relationship she cultivated with several actresses is direct evidence of her ability to design for women (both fictional and real life).

The Lady Eve follows a con-woman who tricks a rich man into falling for her (not once, but twice). Head designed two sets of distinct wardrobes for Barbara Stanwyck’s transformation partway through the film. The black outfit on display is the one Jean wears when she’s scoping him out through her hand mirror. The beaded top, sash and floor length skirt is the same one featured on the movie poster and promotional material.

Veronica Lake is one example of how a designer can use design elements to their advantage. You would never know the actress was barely 5ft tall! Lots of vertical lines and floor length hems were used. In person you can see how tiny the dress that she wears in Duffy’s Tavern looks. The belt tie emphasizes her waistline and adds more volume to her petite frame.

Edith Head at Paramount Pictures

The curators don’t hold back on the controversies that follow Head. They included a bit about her admitting she “borrowed” sketches from art students and passed them off as her own for a job interview. Regardless of her past missteps, she is the first woman to hold the chief costume designer position in the male dominated studio system.

What a gorgeous dress that only appears onscreen for a short flashback scene! This wedding gown is worn by Barbara Stanwyck in Sorry, Wrong Number. 25 feet of silver brocade went into this silver dress, which has many meticulous details that would be hard to spot on screen. An embellished bow sits at the waistline. Gathering is used to create interest and depth, especially in the bodice.

Designing for the musical and Technicolor

Technical advances make colors vital in a big way. Musical films are a natural genre for this, because they usually called for bright and flashy costumes on screen. Now there were more elements to consider when designing a costume, like set design and lighting. Head has no problem designing in both black-and-white and color.

The Perils of Pauline dress is completely covered in blue bugle beads that were painstaking sewn onto the silk base. According to the label, it would take around 6-8 months to complete one dress. This would have to be done entirely by hand; you can’t really use a machine to sew these types of beads on. A second version of the dress was created with sequins for the stunt double to wear. The lighter embellishments would make dancing and moving easier. One fun detail: most of the bugle beads are sewn vertically, but the ones bordering the edges of the fabric are sewn horizontally.

Give me a sequin dress any day, I’m easy to please. I love a sparkly dress with a leg slit. The headpiece isn’t displayed, but it reminds me of a mantilla comb. Never watched Here Come the Girls, but the stills makes me think there’s some cultural appropriation going on. The swirl detail on top of the bodice seem to have been damaged or lost with time. There’s another dress from the same film nearby, another strapless embellished beauty, with yet another a leg slit. Some of these gowns look okay on the mannequin, but transform into something magnificent when worn. It’s truly a testament to the costume department and talented craftsmen who worked on these pieces of art.

The beaded dance costume worn by Juliet Prowse in G.I. Blues was unassuming at first glance. But after I saw it in action, my appreciation only grew. The long “car wash” multi-panel skirt is incorporated into the performance and allowed for a greater range of movement. The panels are all beaded (with bugle beads it looks like). On film, it looks so shiny and metallic, there’s something almost futuristic about it.

Edith Head’s design process + sketch wall

One of my favorite parts of this exhibition was seeing these fashion sketches in person. They had many designs that included costumes from To Catch a Thief, Anything Goes and Breakfast at Tiffany’s. There’s something so satisfying about seeing a chic sketch of a costume you recognize. Some of them even had tiny swatches of fabric attached to them! You could sit here for hours analyzing the notes and tiny details in each illustration. Seeing all the framed pieces made me really want to practice drawing again. They should sell these as prints or postcards, I would buy every single one of them.

Designing for the tropics and the beach

Beachy and tropical settings were popular for many Hollywood pictures in the 50s and 60s. The curators have a note about the racist portrayals of island natives, and the costumes often follow suit. Directors wanted drama, so historical accuracy was never a priority, plus they had to adhere to the strict rules of the Hays Code. It seems like these types of movies didn’t challenge Head design wise, but they they made a ton of money.

There’s an interesting note about Head avoiding patterned fabric because she felt they quickly became outdated. One exception is this red sarong worn by Dorothy Lamour in Aloma of the South Seas. Made out of satin crepe, the wraparound skirt lands in an elegant tulip hem. You could wear this to the beach today and no one would blink an eye.

Designing for the home and the Hays Code

Ahh the Hays Code, my ultimate archnemesis. The incredibly strict moral code prevented many things from being shown on screen, such as violence, couples sleeping in the same bed and cleavage. When designing outfits for scenes that take place in bedrooms, costume designers had to keep these rules in mind to avoid censorship. The end result is the glamorous robe look that many audiences picture when thinking about women lounging in their boudoirs in old movies.

The definition of glamor is the nightgown that Norma Desmond wears under a lacy robe in Sunset Boulevard. I’ve used the official OKCMOA photo since you can actually see the accordion pleat detail in the black dress. For some reason, their image has black straps, however it’s strapless in person and in the movie. Let’s bring back pretty loungewear!

Edith Head & Alfred Hitchcock

The collaboration between these two strong personalities spans 11 films, including Vertigo and Rear Window. The accompanying label says that she developed a costume “call board”, to make sure everything all the colors and silhouettes fit the director’s specific vision.

When I first watched Rear Window, I was struck by how fashionable Grace Kelly’s character was. The green suit on top of the white silky number with the pearls? The black and white gown with branch detailing? The delicate satin nightgown? Chefs kiss to all of them! Let’s draw our attention to the black cocktail dress that Lisa wears while arguing with L.B. about whether or not a murder has happened. Look at the organza bust detail, that accordion pleating and skinny belt. Everything combines to create a simple, but extremely elegant look. Absolutely gorgeous.

There are so many fire outfits in Vertigo, so I’m a little disappointed that we only see this one. This is the dress Madeline wears when she jumps into the water and Scottie saves her. Wrapped around her neck is a chiffon scarf. I’m beating myself up for not checking to see if the pictured flower pin is displayed.

Designing for the everyday woman

From my pictures, it looks like this section didn’t have a blurb, but the title is self-explanatory. The designs in this room are more subdued than others, but the expert tailoring still shines through. I would very much wear (almost) all of these outfits today.

Head won an Academy Award for A Place in the Sun, and this ensemble is just one of the numerous looks in this romantic crime drama. On display is a lovely green plaid dress worn underneath a camel colored coat. Faux flowers adorn the lapel as a final touch. The sweetness of this outfit (worn by Shelley Winters) contrasts with Elizabeth Taylor’s character, who is often seen wearing lavish dresses.

When I saw Audrey Hepburn’s face staring back at me from across the room, I hoped the curators weren’t going to shy away from the Givenchy debacle. They didn’t disappoint me. This two-piece cream suit was worn by Audrey Hepburn playing Jo Stockton in the 1957 film Funny Face. The “beef” between the two designers starts back as early as 1953, around the time they were filming Sabrina. Givenchy doesn’t get credit for his designs, but the stories about what actually happened are muddy. We do know that Hepburn sought out the French designer before filming, but his name doesn’t show up in the credits. To make matters more messy, Head won another Academy Award for Costume Design thanks to Sabrina.

Designing for wartime

The movie industry isn’t immune to the effects of World War II. Due to rationing and import halts, luxurious fabrics and trims were out of the question. Gone were the opulent costumes from previous years. Film noirs also rose to prominence during this time, and more practical outfits begin to show up on screen.

Double Indemnity is considered one of the greatest noirs. It starts off with a housewife convincing her lover to kill her husband for insurance money. Barbara Stanwyck plays Phyllis, the conniving femme fatale who sets off the deadly series of events. She wears this outfit in the famous supermarket scene, where the two lovers discuss their murder plans while pretending to shop. The white blouse is worn with a houndstooth vest on top, and paired with a simple black pencil skirt. The screenplay called for a “simple house dress [and] no hat”, according to the label.

Designing for a revolutionary decade

If you love 60s films like me, this section will thrill you. Everything is playful and fun again. We start to wave goodbye to the Hays Code, plus the old studio system. The film industry is going through a rebirth, similar to society with the Civil Rights Movement. A boom of cheaper color processes (basically non-Technicolor) were also favored during this period.

We start off strong with two dress from What a Way To Go!, the incredibly fashionable satirical film starring Shirley MacLaine. The costume budget was gigantic! Louisa gets a brand new wardrobe with each husband she marries. Many costumes only show up on screen for a few seconds, but there are many memorable ones nevertheless.

This green silk satin number is worn during her marriage to the wealthy Rod Anderson Jr. (played by Robert Mitchum). In the short scene, she accessorizes it with a statement necklace and jewels in her hair. The surrounding outfit montage is full of sparkles, furs and extravagant looks. A title card, “Lush Budget Production” is a direct callback to the glam Old Hollywood costumed flicks. She wears the other colorful dress when married to her artist husband. The bursts of color are supposed to represent paint strokes. Her fashion during this time is very avant-garde. The modern shapes in the clothing set it apart from the other aesthetics she adopts with each husband.

A quick shoutout to this outfit worn by Carroll Baker from The Carpetbaggers. Never thought I would enjoy green and cheetah print paired together, but it just works here. I don’t even like animal print!

Designing for the past

Many studios released big epic historical productions, including Paramount. Due to the scale of these movies, hiring multiple costume designers was common practice. Head would usually dress the key female characters, while another designer handled the menswear and costumed extras. As a period film lover, I was very excited for this section, which happens to be the last room of the exhibition.

We have another Academy Award winning movie, Samson and Delilah. Head was responsible for the costumes of Hedy Lamarr and Angela Lansbury. It is said that Head didn’t enjoy working with Lamarr (baffling). I couldn’t find a clear still that shows Lamarr wearing this on screen, but it’s probably because of the insane number of costumes in this. There is one contender, but it’s a nighttime scene so it’s hard to confirm. Anyway this dark blue cape is pure magic, the glimmery silk velvet resembles a starry night sky.

There aren’t that many menswear costumes in this exhibit, but I do have one entry from The Buccaneer. Head shared the credit with designers, Ralph Jester and John Jensen. All three earned an Academy Award nomination for this film. I don’t have productive commentary to add, I just like the frills and cording detail on the pants. It’s simple, but really beautiful. There were very few stills featuring this outfit worn by Yul Brynner, who seems to have an intense smize that Tyra Banks would be jealous of. It’s very possible that the displayed version is an alternate design or it’s a result of oxidation. The design is identical, minus the lapel front and pant color.

Lastly I’m going to chat about another dress worn by Carroll Baker in 1965’s Harlow. Since this is a biopic, Head had to go back into the archives and pull out the 1930s style that Jean Harlow was known for. The white slinky beaded dress had to be worn without undergarments because it was so formfitting. Can you tell I’m drawn to glitzy dresses like a moth?

Gift Shop

A museum trip is never complete without visiting the gift shop. There wasn’t as much merch as I would like. Trevor Wayne was responsible for the stylish portrait of Head and it adorned items like shirts and mugs. I searched in vain for fashion sketch prints, but was dismayed to find out the framed illustrations were display only. They also sold some costume design books, like Edith Head: The Fifty-Year Career of Hollywood’s Greatest Costume Designer, but you could find those anywhere. The only thing I left with was the enamel pin of Edith Head’s head.

Never thought I would visit Oklahoma ever, but a very niche museum exhibit seems like the best reason. Downtown Oklahoma City is such a weird place, since it felt like a ghost town. Where are all the people?! It was surprisingly easily to find vegetarian food (for me). One of the best restaurants was this Laotian spot, Ma Der Lao Kitchen. We also had a great time at the National Cowboy & Western Heritage Museum. I experienced my first Southern state fair; it’s nothing like what we have on the East Coast. There aren’t any pig races, really good sweet tea or stunning Indigenous dance performances.

The freedom to travel is a privilege that I don’t take lightly. Not everyone can afford a last minute trip like this, but I hope this post was gratifying for those who couldn’t make it. Let me know if you want more of these, I have way more fashion exhibit trips in the backlog. Are there any film + costume design exhibits you’ve wanted to see?

Life is short, go make some spontaneous choices (financially responsible ones)!

Sources:

• OKCMOA

• Edith Head Exhibition Text

• Edith Head - Academy Awards

Valley of the Dolls (1967) dir. Mark Robson

From what I remember, the book was more devastating. The director strayed away from the original story, so it’s a wonder I liked this as much as I did. Though I personally could have done with less of the cheesy theme song. Sharon Tate is gorgeous in this, especially her outfits. I particularly love the costume design here. Each of the three characters has their own distinct style that evolves as their situation changes. Beyond the Valley of the Dolls is next on my watchlist.

No Other Choice (2025) dir. Park Chan-wook

Stellar film, but are we surprised when it’s Park Chan-wook at the helm? Something I noticed is that a lot of men are into bonsai, an artform that requires the user to manipulate the way a tree naturally grows. There’s definitely an argument about men, plus their need for power and control, but I digress.

The Piano Teacher (2001) dir. Michael Haneke

This film about a sexually repressed piano teacher lingered in my mind days after watching it. Like holy shit. It has multiple uncomfortable moments. Do not watch this with your mom.

Brief Encounter (1945) dir. David Lean

Watched this after seeing this Substack note about films with impossible love. It was the only film on the list that I didn’t watch, so of course I had to satisfy my curiosity. Well, thank you Raphaël because this really hit all the beats I wanted: restraint, vintage train stations and doomed love. This is worth a watch if you want cinematic yearning.

It’s Love I’m After (1937) dir. Archie Mayo

This features a love triangle between an actor, his leading lady and an infatuated fan. What a bitchy screenplay (complimentary)! The sharper the lines, the better. We can’t ignore the massive star power delivering them in this screwball comedy. Bette Davis and Olivia de Havilland = legendary combo. Leslie Howard is really growing on me. I don’t even think he’s that attractive, but there’s something magnetic in his performances.

Without Love (1945) dir. Harold S. Bucquet

Two people enter in a marriage of convenience. He needs the space to develop top secret tech and she owns a large house. To be honest, I’m only here for Katharine Hepburn. Her chemistry with Spencer Tracey is renown, but it doesn’t grab me as much as everyone else. While I didn’t love this as much as Desk Set, there are some moments of brilliance here and there, including a scene where Hepburn does a flip while wearing an oxygen mask.

North and South (2004) dir. Brian Percival

Rewatched this limited series again on a whim and it made me crave period dramas again. Based on Elizabeth Gaskell’s 1855 novel, this series shows the clash between two characters from different worlds, set in Industrial Revolution England. While romance is the underlying thread, we have brewing societal issues that dramatic tension and commentary on workers rights. It’s very relevant right now. Richard Armitage plays John Thornton, an incredibly serious mill-owner. Very few have managed to achieve this level of “yearning with only your eyes”.

King Neptune (1932) dir. Burt Gillett

This is when I decided to continue on my watchlist for my mermaid video essay. It’s an early Disney short under the Silly Symphony umbrella. Let me just say, it isn’t really that silly. King Neptune calls all the ocean creatures to battle a band of pirates who abduct a mermaid.

Blue My Mind (2017) dir. Lisa Brühlmann

The reality of girlhood is explored here, plus there’s a mermaid! It’s sapphic, harsh and melancholic. Honestly a really solid entry in mermaid movies.

Mr. Peabody and the Mermaid (1948) dir. Irving Pichel

William Powell’s handsomeness cannot save this movie. The “born sexy yesterday” trope is on full display here where a middle-aged man fishes up a beautiful mermaid. Last month, I watched the competing UK version Miranda, and the American version pales in comparison. The mermaid doesn’t have any lines or semblance of personality. She’s basically the blank canvas for the man to project his desires onto.

Emily (2022) dir. Frances O’Connor

This is supposed to be an Emily Bronte biopic that follows a portion of her life pre-Wuthering Heights. It’s not accurate to her life and takes a lot of liberties. I was worried at first, since we first see her wearing her hair in loose waves, hinting at her wild nature. They continue this loose hair look in several scenes, but it doesn’t bother me as much, since the Bronte sisters wear their hair up and the amount of bonnets is above average.

The Little Mermaid (1968) dir. Ivan Aksenchuk

In a sea of Hans Christian Anderson remakes, this one stands out with its rich visual. It begins with a brief tourist scene before diving into the mermaid tale. The illustration style is something out of a fairytale storybook. Absolutely stunning!

The Little Mermaid (1976) dir. Vladimir Bychkov

Want 70s fantasy movie vibes? Costume design is all over the place. That wig is a diabolical choice. The mermaid keeps her voice in this iteration, but maybe that was a mistake because it’s a childlike high pitched voice. It’s not terrible, but I wouldn’t watch this again.

The Other Bennet Sister (2026) dir. Jennifer Sheridan + Asim Abbasi

This limited series focuses on one of the overlooked Bennet sisters from Jane Austen’s Pride and Prejudice. While P&P has been done to death, this BBC adaptation brought some fresh perspectives. Instant classic. Period dramas are so back baby! I’ll be daydreaming about Hayward rolling up his shirtsleeves for a while. Loved this so much, I finished a whole article in an evening about the infamous red dress. It’s been a while since a series left with an empty feeling (all the good ones do), and this was no exception.

Ready or Not (2019) dir. Matt Bettinelli-Olpin + Tyler Gillett

Really fun watch! The premise feels silly, but it works somehow. A woman marries into a wealthy family and their family traditions turn out to be deadly. Besides our final girl Grace, my favorite character is Daniel, the sardonic alcoholic brother. I admit I watched this to prep for the sequel, simply because Shawn Hatosy is in it.

The Bride! (2026) dir. Maggie Gyllenhaal

Tag yourself: I’m the ghost of Mary Shelly possessing Ida. At times, it feels a bit disjointed, but it’s certainly a welcome addition to the Frankenstein related media universe. It takes some bold swings that might turn some people off, but I love the chaos. Jessie Buckley is a gem.

Sense and Sensibility (2008) dir. John Alexander

Back with another limited series in the Jane Austen universe. Dan Stevens as Edward Ferrars is chefs kiss. As an eldest sister, Sense and Sensibility has always been really relatable to me. I don’t gravitate to Hattie Morahan’s version as much as Emma Thompson from Ang Lee’s 1995 film adaptation, but I enjoyed this well enough.

Rachel and the Stranger (1948) dir. Norman Foster

Westerns have never been appealing to me. Put a woman at the center of the conflict and have Robert Mitchum play the handsome stranger who’s going to steal her away…I’m in.

The King’s Daughter (2022) dir. Sean McNamara

Hot mess of a movie. There was no need to read up on the troubled production, because you can tell immediately while you’re watching this. Originally this was filmed in 2014, but didn’t release until 2022. The CGI mermaid is so bad, I can’t even begin to describe it to you. It’s giving AI slop energy and doesn’t even resemble Fan Bingbing at all. Mermaid movies deserve better than this!

The Locket (1946) dir. John Brahm

Whatever low expectations I had were blown out of the water by this noir-ish mystery. One woman manipulates several gullible men (iconic). Similar to Christopher Nolan’s Inception, this features scenes within scenes, memories inside memories. In the hands of a less capable director, this could get muddy and convoluted. Thankfully we’re left with an intriguing story with spectacular acting and plenty of gaslighting.

Miss Austen Regrets (2008) dir. Jeremy Lovering

A sweet movie that follows the tail end of Jane Austen’s life. She’s an established author already, but still struggles to support her family as a spinster. The relationship with her niece Fanny is refreshing to see. Austen is emanating “cool unmarried aunt” vibes that I really resonated with. Bonus: A blonde Tom Hiddleston makes an appearance. We need him starring in more period dramas immediately!

June was a very productive month. I expect next month will be similarly busy, but hopefully less so, since I want to capture some summer moments before it ends.

Want to see what I’m watching in real-time? Go follow me on Letterboxd!

The Other Bennet Sister is a BBC limited series that revolves around Mary Bennet, the often overlooked middle sister in Jane Austen’s Pride and Prejudice. A series of events causes our main character to get swept away to London, away from her immediate family for the first time. This is a story about figuring out who you truly are (outside of others perceptions of you).

Digging into the costume designer’s portfolio, this series is her first Regency project. Siân Jenkin’s past work leans more on the contemporary side, like in God’s Own Country and Generation Z. Here I want to remind readers that costume designers rarely have 100% unfettered control of the final looks. A director’s vision might clash with what the designers created. The level of collaboration and approval process differs in every production. Preferences of actors, practicality and budget constraints are all examples of potential obstacles.

Early in the season, Mrs. Gardener takes Mary to a haberdashery to pick some dress fabrics. While browsing the wares, you can see how much her mother’s comments have been drilled into her. She parrots the deprecating comments about her complexion, while Mrs. Gardner tries to gently guide her to just choose something she likes. Then Tom Hayward, our ultra charming love interest, makes a brief appearance and the two have a cute exchange about the fanciful color names. His advice is to pick something that feels authentic to her. The final choice is a crimson fabric with spring green trim, plus a second dress entirely in the spring green color.

The grand reveal seems to have disappointed many, who are, no doubt, used to what I call the “wow dress”, a built-in fashion moment that pops up during a climatic moment of a story. Think of the blue gown in 2015’s Cinderella or the sparkly dress Ariel wears when she emerges from the water as a human. These dresses mark a transformation, like a butterfly finally emerging from her cocoon.

Mary’s red dress doesn’t feel fashionable or awe inspiring at first glance. Commenters have even called it tacky and ugly. Does the design live rent free in my head? No. Are some of the costumes (including this one) ill-fitting? Yes. Did the lack of gloves bug me? Also yes! I’m not going to defend these choices, but I want to provide another point of view because I know this dress elicits some very strong opinions. Read on for three reasons why this red dress works for me.

Color Symbolism + Contrast

Red symbolizes many things, including power, courage and assertiveness. All of these things are foreign to Mary in her current state. She’s lacking confidence as a result of the overbearing shadow of her family. Both Mrs. Gardner and Tom encourage her to choose colors that speak to her. She finally has the freedom to choose for herself. Picking a bold color could be interpreted as an attempt to embrace these dormant qualities.

Bright colors naturally draw your attention. It’s the same technique found in older animated films. You could always tell which item a character would interact with by paying attention to the colors. Costume designers can use color to establish a character without any lines of dialogue. Alienation is part of Mary’s struggle and color is used to amplify those feelings of separation. Next to her sisters in pastel hues, she fades to the background in her neutrals. Jenkins mentions each of the Bennet sisters, except for Mary, has a color palette that pairs with a specific flower. The fabric she selects in the haberdashery are in a vivid red and green, a far cry from the delicate colors designated to her sisters.

In London, her crimson dress allows her to stand out in a sea of darker tones in the room. Enter Caroline Bingley, also in a red dress. This time red doesn’t just symbolize power, it screams danger. At first, Mary regresses back to her older self in the presence of Caroline. The stark contrast between these two women, who are ironically wearing the same color, is in plain view.

Illusion of “Taste”

Who is the ultimate authority of taste? A hot pink dress might seem garish to some, but others who’ve seen Marilyn Monroe in Gentlemen Prefer Blondes will disagree. What’s considered tacky will vary from person to person. Current trends, societal norms and personal likes/dislikes will impact someone’s opinion. Cultural bias is also a huge factor. Two women wearing the same outfit will experience different comments merely because of the color of their skin (don’t forget about body type, fitting into beauty standards, etc.).

Mary’s evening gown doesn’t resemble the dresses of her sisters. It’s a shame this dress isn’t tailored better, because audience sentiment would’ve been way better if it fit her properly. But maybe that’s not the point? Mary is taking her first steps to truly knowing herself and she’s only at the beginning of her journey. The people around her are encouraging her to make decisions without caring about the opinions of others. Her mother’s behavior shaped the way she perceived and presented herself to the world. If Mary feels great in this outfit, then who are we to judge? This design is never going to make hobby sewists froth at the mouth, but if it was a showstopping dress, would Caroline’s backhanded comments have the same impact? One could argue that if this was a traditional “wow dress”, it would be symbolic of conforming to the rigid mold of Regency ideals. It wouldn’t work, because this entire series is fighting against that idea.

During my research, I stumbled upon the Regency Color Compendium, which compiled popular textile colors pulled from Regency era fashion plates and other supporting resources. Crimson shows up alongside other reds like “pomegranate“ and “ponceau”. Tom initially refers to the green on her dress as “pomona“, the most popular green of that era. Mary is quick to correct him, she specifically chose the “spring green”, which decreased in popularity due to the trendy “pomona green”. Personally, I adore this green and pink combo she’s rocking!

The crimson and spring green are on the opposite end of the spectrum of the repressed colors she wears in Longbourn. The more I ruminate on this, the more I appreciate the bold red choice. After all, Caroline Bingley had a similar idea when she put on her red evening gown. Mary’s love for color is further revealed when she makes a passing comment about wishing to choose the color of the wallpaper for her own house one day (which does happen at the end!). As the series progresses, her neutral wardrobe starts to fill with color as she becomes more sure of herself.

Subverting the Makeover Trope

Mary goes fabric shopping in episode 3. These bold dresses are obtained early in the season, but there’s no instant transformation or cliché makeover montage. A new dress won’t magically prevent her from stumbling and making mistakes. I also love that she gets her spectacles in episode 1, another subversion of the traditional makeover tactic of taking your damn glasses off. There’s a DIY face mask moment with Ann Baxter, but it’s a one-off. Mary’s hair doesn’t magically turn into Old Hollywood waves and no false lashes suddenly appear. Any “makeover” or transformation is happening internally.

Yes, Mary is an outfit repeater. We can see her re-wear dresses throughout the season, which is both a lovely historically accurate detail and an effective storytelling device. Fabric was expensive and the amount you need to make a dress is more than you think. Wealthier women typically owned more gowns, but Mary is no heiress. Stepping into the same dress allows us to reflect on how much she’s changed. She’s allowed to gradually grow into herself and these gowns.

RegencyRumours has a video that dives deeper into how this show avoided the makeover trope if you’re interested.

One interesting note: Some of the costumes are currently being showcased at Dyffryn House and the red dress is nowhere to be seen. I wonder why they decided not to show it, since it’s technically an important dress story wise. The spring green dress does make an appearance though!

The Other Bennet Sister feels like a breath of fresh air. No one has iPhone face; wrinkles and rosacea aren’t hidden, they’re on full display without much commentary. I can’t even recall a time when a period drama showed natural body hair. Then you have Dónal Finn playing Tom Hayward. Every time that man smiled, I melted into a puddle. William Ryder is also extremely handsome too. That entire lake scene was plucked frame by frame from my dreams. I confess that I giggled and kicked my feet several times while watching this show. There are interesting approaches to characterizations in this version, like humanizing Mr. Collins?! Brief but memorable Mr. Darcy moments. This show does so much and is a welcome addition to the Jane Austen adaptation library.

Regardless of how you feel about Mary’s dresses, at least we got billowy white shirts with long sleeves, perfect for a Regency man to roll them up to his elbows. Forever grateful for this gift. 💖

Sources:

• Country & Town House: Costume Designer Interview

• Regency Color Compendium

• Colours of the Regency

• EKDuncan Fashion plate

Not all of these movies take place in the summer. I’ve included some picks that you can enjoy in anticipation for the autumn season (my favorite, personally).

🩸☀️🦴 For anyone who yearns for a bloody Americana romance during sunset: Bones and All (2022) dir. Luca Guadagnino

Set in the 1980s, this horror film follows two young characters who fall in love, and happen to be…cannibals. It gives me feeling of hot summer nights with cicadas buzzing in the background. Both the indoor and outdoor environments are staggeringly ordinary, but shot in a striking way. Guadagnino seems to understand what I really want in film: romance, beauty and grotesqueness.

🧜‍♀️🐚🫧 For noir beachy vibes: Night Tide (1961) dir. Curtis Harrington

A sailor falls in love with a woman who dresses up as a mermaid in the carnival sideshow. Her mysterious past begins to reveal itself in the light of the full moon. He tries to unravel it all while interacting with the offbeat characters of this small beach town. Mora’s costumes are breezy, giving major Greek goddess vibes which matches the seaside environment. The opening scene sets the tone with artsy nighttime shots of the Santa Monica Pier. Definitely a moody and stylistic entry.

🧛🏻🦇👠 For those who long to be a glamorous vampire living in an urban townhouse: The Hunger (1983) dir. Tony Scott

I don’t know how my screen could handle both Catherine Deneuve and David Bowie at once. This is a vampire film filled with blood, sex and great fashion. YSL was responsible for many of Deneuve’s elegant outfits. Don’t need to add any further commentary, because if you love these 3 things, you’ll enjoy this movie.

🏰👻💀 For anyone who has contemplated staying overnight in a haunted house for $10k: House on Haunted Hill (1959) dir. William Castle

Several strangers are trapped in a house together and attempting to survive the night. Throw in an eccentric millionaire and his fourth wife for good measure. If you love stories that take place in a limited setting, this one is for you. The grand house is shadowy and atmospheric. While this isn’t the scariest movie on the list, it does have its creepy moments.

🏚️🪞🧺 For “I think I’m gonna die in this house” Charli XCX vibes: Marrowbone (2017) dir. Sergio G. Sánchez

Imagine casting two scream queens together in one movie (Anya Taylor-Joy and Mia Goth?!). Four siblings live in a creepy house in Maine, with an even creepier mirror inside it. It’s not obvious what time period this story takes place in, and that’s likely by design. The walls are old and dusty, but there’s still a countryside charm that’ll disarm you. If I could only use one word to describe this film, it would be: bleak.

🌵☄️🛸 For extraterrestrial horror set in a dry desert landscape: It Came from Outer Space (1953) dir. Jack Arnold

An amateur astronomer and schoolteacher notice something falling from the sky while stargazing. Different parties head to investigate the crash site and weird things start to happen. Even though this is filmed in black and white, you can practically feel the dusty hot environment. These types of 1950’s flicks make me want to visit places like Arizona and New Mexico, where UFO sightings were common. Who doesn’t love bizarre occurrences happening in remote desert locations? This is a subgenre that I need to dive deeper into.

💉🖤🥀 For gothic theater kids with a penchant for gore and outrageous fashion vibes: Repo! The Genetic Opera (2008) dir. Darren Lynn Bousman

While this is more camp than scary, I can safely say this musical is not for everyone. In this dystopian society (basically America, let’s be honest), a giant corporation offers payment plans for organ transplants. Those who can’t keep up repayment get a visit from the Repo Man, armed with sharp tools for cutting flesh. Alexa Vega plays a young sheltered girl who longs to escape her suffocating home. Thanks to Paris Hilton, who also played the part of Amber Sweet (bratty heiress of the CEO), the small costuming budget was bolstered by pieces from her own closet. The result is a stylish spectacle that gives the film an aesthetic that visually stands out and ideal content for Tumblr gif sets.

Horror movies are having a moment right now, and there’s so many gems to explore. The genre is so diverse; there’s something for everyone. Comment below with your recommendations (or if you want a part 2)!

If you want to snoop and see what I’m watching in real time, go follow me on Letterboxd!

Splash (1984) dir. Ron Howard

In the realm of mermaid movies, this one is my least favorite so far. The comedy has not aged well. I can’t think of anything witty or funny to say, because this movie gave me nothing.

The Devil Wears Prada 2 (2026) dir. David Frankel

Did anyone expect a nostalgia bait sequel to be this good?! I certainly didn’t. Watching this on opening weekend in a full theater surrounded by well-behaved (and stylish) movie-goers was a pleasant experience. My opinions align with the majority of audience sentiment I saw online. 1) This sequel was the best case scenario, especially when you consider how perfect the first one was. 2) The romance subplot was unnecessary. Give us more clothes!!! Speaking of the outfits, only like 1-2 of them were truly questionable at a first glance. Put me in pretty much whatever Simone Ashley or Emily Blunt were wearing. This movie also inspired me to start collecting fashion magazines again!

Diana Vreeland: The Eye Has to Travel (2011) dir. Lisa Immordino Vreeland

Thanks toThe Devil Wears Prada 2, I was in a fashion + journalism mood. Diana Vreeland was the famed fashion editor of Vogue and Harpers Bazaar, pre-Anna Wintour. She also worked as a consultant for the Costume Institute of the Metropolitan Museum of Art. Oh, and she discovered Lauren Bacall! The documentary explores her life and work, pairing intimate interviews with chic visuals (for the most part). The impact of this woman is legendary. Vreeland is who I want to be when I grow up.

Desk Set (1957) dir. Walter Lang

I loved this, 5 stars baby! I never understood the supposed chemistry between Katharine Hepburn and Spencer Tracey, but I see it now. There’s something for everyone here. Super smart research librarians with positive female friendship representation? Check. Shitting on technology that threatens jobs in the name of “efficiency” (aka corporate greed)? Check. Whip smart screenplay that’s actually really funny? Check. How about a drunken Christmas office party scene with retro holiday decorations? Check.

Dead Reckoning (1946) dir. John Cromwell

Loving film noirs means you have to be willing to put up with seeing Humphrey Bogart a lot. I pray to never wake up with a sudden realization that he’s attractive. If you ever see me slipping, you have permission to yell at me. The basic mystery is pretty interesting. War hero goes missing. His best friend, and fellow paratrooper sets out to find answers and at the end of the web is our femme fatale, Coral. Dead Reckoning doesn’t push the envelope in terms of the genre, but it’s a fine watch if you’re itching for something moody. Unrelated, but doesn’t McKenna Grace look like a young Lizabeth Scott?

Millennium Mambo 千禧曼波 (2001) dir. Hou Hsiao-hsien

The camera follows a young woman walking along the empty Zhongshan Bridge at night. Steady beats in the background match the slow motion camera work. Fluorescent lights cast a soft glow around everything, creating an intense feeling of nostalgia for a movie you’ve only just begun watching. Music plays a key part throughout this film, which serves as a retrospective on one woman’s memories. Cigarette smoke is everywhere, casting a neon haze on Taiwan’s nightlife. This is the definition of a vibes based movie (complementary). What a wonderful intro to Taiwanese cinema; I’m hungry for more.

In the Realm of Senses (1976) dir. Nagisa Ōshima

Imagine if A24 filmed a beautifully shot hardcore porno and added a sprinkle of political undertones; that’s basically this movie. The reasons why you shouldn’t watch are longer than the reasons why you should watch it. Taboo topics of all shapes and sizes are explored in the 102 minute runtime. I can’t lie to you, the content is very explicit and oftentimes feels gratuitous. It’s certainly not for everyone. Unsure of what’s worse, watching this with a group of people or watching it alone? RIP to my neighbors that walked by my apartment door and questioned the noises that emitted from my soundbar.

The Lure (2015) dir. Agnieszka Smoczyńska

I commend Smoczyńska for taking a risk and transforming the typical mermaid tale into something unique. However, this would’ve ranked higher if it didn’t include the musical numbers honestly. One or two songs are bearable, but it dragged on for me about halfway into the film. We’re severely lacking dark (and serious) arthouse mermaid films, which is shocking considering how popular these aquatic beings are. One of my favorite aspects is how creepy the mermaid tails look on screen. No dainty Disney-esque tails here! You can practically feel the slimy scales and smell the salt in the air.

Three on a Match (1932) dir. Mervyn LeRoy

This is a pre-code film about three women who reunite after elementary school. You have Joan Blondell, Ann Dvorak and Bette Davis rounding out the main cast. Sign me up! This kinda feels like a classical tragedy with the intertwining stories of multiple women who couldn’t be more different. It’s shocking at times, even though I watched a lot of old movies and know what to expect. That ending wtf! Pre-Hays Code era films are truly something else.

His Girl Friday (1940) dir. Howard Hawks

After the previous movie, I was in need of a comfort rewatch and gravitated towards this masterpiece. Cary Grant and Rosalind Russell play an ex-husband and wife duo in the newspaper business. She wants to marry and quit journalism, but he’s trying to lure her back with one last story. Naturally, chaos ensues. The screenplay is excellent, and so is their chemistry. On this rewatch, I was enraptured by the way he lit his cigarette using her match. The only word I can think of to describe it is → intimate? For my Challengers fans out there, it has similar vibes to when Patrick uses his foot to pull Art’s stool closer to him. It’s a small and seemingly inconsequential action that can speak volumes if done right.

The Million Pound Note (1954) dir. Ronald Neame

Gregory Peck was the main reason for watching this. He plays a down on his luck American who finds himself stranded in Britain without a shilling to his name. Two wealthy gentlemen change his fate with a bet. A single piece of paper shows the stark contrast of how society treats a man they believe to be a millionaire versus his penniless self. The story seems like it would be a home-run, but it doesn’t fully grab me. Though you’ll wish Peck’s arms would grab you after you see him roll up his shirt sleeves. Peak feminine gaze.

Mermaid Русалка (1997) dir. Aleksandr Petrov

Normally I try to stay away from rating shorts, but I couldn’t help myself. This short film packs so much in a mere 10 minutes. It’s not only visually stunning, but the sound design and score come together to form an exquisitely rich story about a young man who saves a mermaid. Subtitles aren’t necessary for this because there’s minimal dialogue. The feeling of the water’s movement in this breezy style will stay with you. Audiences can use visual cues to infer what is actually happening in the story. If you’re still confused, reading up on the “rusalka” after you watch the short is recommended.

In June, I predict I’ll be wrapping up my mermaid movies. Then it’ll be script writing time. Besides the movies I listed above in the intro, I’m really hankering to watch Ready or Not 2: Here I Come, just for Shawn Hatosy. I haven’t watched the first one yet, but I’ve heard good things, so I’m pumped. Too many movies, so little time.

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Imagine pulling a film off a shelf and raving about it to an engaged audience, who’s just as obsessed with cinema as you are. It goes into a black cloth tote bag, slung casually over your shoulder. Rinse and repeat until you have a haul that represents your unique taste. This act simultaneously gives off intellectual and cool vibes. This is the appeal of Criterion Closet Picks, a beloved video format that gives celebrities and film industry professionals a chance to articulate why a movie is so important to them. They get to do it in a 67 square foot closet full of shelves, stuffed to the brim with some of the greatest films ever created.

Criterion’s prestige level is on par with NYRB, the book publisher is known for their tasteful curation that prioritizes quality over profits. In a world with overflowing choices, it feels natural to seek out editorialized collections with high quality options. The curation is part of the brand. Interest in physical media has continued to increase over the years, especially as streaming services continue delivering nothing but disappointment. The siren call of boutique Blu-rays is getting harder and harder to ignore. My journey began in 2023 when I picked up The Red Shoes (1948) from Barnes & Noble. You’ll never forget your first.

WTF is the Criterion Collection?

Criterion is one of the most popular brands in the boutique Blu-ray space. They’re known for their discerning film curation and beautiful cover art in clear cases that feel elevated from the standard blue ones. At the time of writing this, there are over a thousand movies in the collection (excluding the various box sets and Janus Contemporaries). They’re not snobbish about genres. You have a huge selection to choose from, everything from foreign drama, film noir and musicals are represented. Both classic and contemporary films from all over the world are included. They not only distribute films, they preserve and painstakingly restore them to the highest technical quality possible.

Why should I start collecting these?

Everyone has a different reason why they start collecting, but if you’re just dipping your toes into this space, Criterion is a great place to start. They put a lot of care in their restorations, with a stamp of approval from the director (if possible). While some brands focus on a single genre, they offer something for everyone. The extensive bonus features is one of the main reasons I was drawn to Criterion. I desperately yearned for the times when DVDs were chock full of extras and their supplemental content is top-notch. The marketing doesn’t hurt either. Hot and interesting people gushing over their favorite movies in a cinephile’s dream closet? Groundbreaking.

Where can I buy?

There are two main places most people buy from.

1. Criterion.com

2. Barnes & Noble (online or in-store)

A full price 4k + Blu-ray disc set can run up to $50+, while regular Blu-rays sit around $40. Certain movies even have DVD versions that go for $30. Box sets are more expensive; the MSRP of the Wes Anderson Archive is $499.95 for 20 discs.

Luckily there are 50% off sales about 4 times a year (split between Criterion’s official store and B&N). Criterion’s flash sales last 24 hours and occur in February/March and October. Criterion Channel subscribers sometimes receive a $10 coupon code that can be applied to your order. Barnes & Noble sales happen in July and November, usually lasting a month.

Both Criterion and B&N also run smaller 30% sales throughout the year if you’re impatient. For those lucky enough to have a local B&N with a media section still intact, the sale extends to in-store stock.

Other places to look:

• Secondhand stores: some used bookshops or vinyl stores have movie sections

  • If you’re ever in NY, check out Academy Records!

• eBay or similar auction sites

• r/criterion monthly marketplace sales and trades

• Library book sales - some towns have used movies in their listings but your experience will vary

What should I buy? How do I find out about new releases?

Buy what you love! A solid collection is built over time and adapts to your evolving taste. No one should dictate what you should buy. If I get the itch to rewatch a movie again, I buy it. If I feel excited about the bonus features, I buy it. If a movie elicits a strong emotion from me, I buy it. If a movie stars Cary Grant, I buy it. With over a selection of 1,000+ titles, everyone’s collections should be distinct and personal. Especially when you’re starting out, it can be tempting to just purchase a ton of movies you’ve never watched before. I can’t recommend this because no one needs an unhealthy shopping habit in this economy.

Future new titles are announced on a monthly basis. Check out their socials, newsletter and website, especially the Coming Soon page. Sometimes I watch Films By Color announcement reaction videos when titles are released.

Don’t focus on new releases if you’re a beginner. FOMO will really hurt your wallet. Just focus on refining your tastes by watching a variety of movies in the collection. If a new title from your all-time favorite director is announced, perfect, go ahead and preorder it. Otherwise, it’s totally fine to wait for a 50% sale to decide if you really need it.

Other important things to know:

• Criterion packaging is god tier. Some films will include printed materials compiled with essays and photos. For example, His Girl Friday (1940) has all the essays squeezed into a mini-newspaper!

• Criterion Premieres = recent theatrical films that are available in Blu-ray or DVD format

• The Eclipse box sets package multiple films that are either lost, forgotten or overshadowed classics. Price point is more affordable since you’re getting 3+ movies at one time.

• Some titles have known issues like skipping or audio problems. I’ve encountered this with the WKW box set, but received replacement discs thanks to their top notch customer service.

• Bootleg Criterions exist unfortunately. Be wary of really low prices from random websites. The only real way to prevent getting a fake movie is to buy from the two main sources I listed above. Read more in their FAQ section.

How to organize them once you have them?

Bookshelves, cabinets and carts are all great options to store your films. For those looking to craft a visually interesting shelf, use a display stand to showcase the covers of your favorite films outward. You can even use a magazine rack to achieve peak video rental store vibes, or buy a multi-media rack if you’re lucky enough to find one. Because my space is limited, I have a rolling cart that physically prevents how many films I own. If the cart is full, I won’t purchase anything else, unless I get rid of something.

Some people alphabetize their collection by titles, while others might sort by genre or director. It’s honestly up to you. Mine are separated by format, because my collection is so small. All of my Criterions sit together, while the DVDs and Blu-rays are separated on their own tiers. No need to overcomplicate things. Organize your movies in a way that’ll make it easy to find what you want.

In terms of digital organization, you should begin as early as possible to avoid getting overwhelmed. A smaller collection is way easier to catalogue. I scanned all of my movies using a handheld barcode scanner and Libib. You can watch this video where I walk you through my entire process.

Happy collecting! Don’t try to build up your collection overnight. The most rewarding part is the journey of collecting. Don’t ignore those 50% off sales and make responsible financial choices.

‼️Just a reminder: You don’t have to own every single movie in the collection. Buy what you love and make informed decisions if you’re going to do a blind buy. My personal rule is to only purchase Criterions of movies I’ve watched before (and would rewatch).

Sources:

• Reddit thread: Criterion Sale Guide

• Criterion FAQ

Feel like I forgot something or still have a question? Leave a comment and I’ll update this post. My entire movie collection can be found here if you’re nosy.

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As the 2026 MET Gala (aka the Super Bowl of the fashion world) comes to an end, we’re left with outfit critiques and celebrity commentary on a Tuesday. Instead of listing my favorites and least favorites, I wanted to hold a magnifying glass up to one of my favorite looks of the night, worn by none other than Sabrina Carpenter.

For those who need a little bit of background, Carpenter often references Old Hollywood and other vintage aesthetics. Everything from her stage sets, red carpet fashion and music videos has a bit of that retro flair. There’s even her March 2025 Vogue cover, where the singer poses in a baby blue corseted piece, complete with voluminous 50’s pinup hair and makeup.

Our popstar steps onto the “moss stone” carpet, overlaid on top of the famous Metropolitan Museum of Art stairs, wearing a black dress made out of actual film strips. The bustle is what dreams are made of; it’s made of multiple strands of film folded into loops. The skirt is topped with a bow sitting at the highest point of the leg slit. A glittering tulle train trails behind her and multiple strands of rhinestones are connected to rings on either hand. If you look closely you can spot tiny rhinestones aligning the edges of the film strips. Her blonde hair is sprayed into a perfect pin curl bob. The bejeweled headpiece is the final cherry on top of this showstopping piece. Jonathan Anderson, who serves as the creative director of Dior is responsible for this glamourous vision. This year’s dress code: ”Fashion is Art”. What better form to pay homage to this theme? Film is a highly visual medium that combines multiple artforms like music and prop making. It’s also considered one of the 7 modern art forms, alongside painting, literature and theater.

What movie is featured on the film strips? It’s the 1954 version of Sabrina, directed by Billy Wilder. Audrey Hepburn plays the hopeless romantic main character, Sabrina Fairchild. We have Sabrina wearing Sabrina. Even better, this year’s Met Gala fell on May 4th, Hepburn’s birthday. You couldn’t have a more fashionable combo, aka Audrey Hepburn and basically her entire filmography (and personal style).

If you look closely, the movie title and snippets of scenes are featured in the cabochons of the headpiece. Media outlets kept mentioning the flapper headpiece, but I personally couldn’t find any extant 1920’s headwear or Hollywood movie costumes that resembled this. To anyone who’s more knowledgeable than me, please let me know if you find a direct reference! One of my commenters (thank you Gigi) mentioned it was an Algerian piece of jewelry, called khayt al ruh (khayt rouh and khit er rouh led me to similar results).

After some digging I found some photographs, and you can definitely see the resemblance. Aren’t they gorgeous?! It seems like they’re traditionally worn for special occasions like weddings and usually have 1 or 3 “droplets”; the number symbolized your marriage status. I would be very interested to see if there was a mood board for the headpiece. If Anderson was referencing an actual vintage piece, it’s very possible the original designer borrowed heavily from Algerian culture.

Sabrina is about a young woman’s journey that begins with unrequited love. Her style blossoms after she comes back from a Parisian culinary school, now a refined and cultured woman. Edith Head, a famous costume designer for countless movies, was officially credited as costume designer, and subsequently won the Oscar. This film is also the one that ignited a lifelong friendship between Audrey Hepburn and Hubert de Givenchy, a French fashion designer. The actress reportedly sought him out to design key pieces for her character. There were conflicting reports on who designed what, but many sources have accused Head of taking all the credit (for work that wasn’t hers) in the past.

This look stood out among the sea of safe monochrome dresses and boring suits. It’s fun and memorable, while fitting into Sabrina Carpenter’s established aesthetic. I could write another essay about the inspiring things that Jonathan Anderson crafted, but I’ll save that for another time.

[Edited on 5/9: added pictures + more details]

Sources:

• Dior Instagram

• Jonathan Anderson Instagram

• British Vogue

• Nails by Zola Instagram

• Evanie Frausto Instagram

• Vanity Fair - When Hubert Met Audrey

• Savoir Flair - Sabrina Carpenter's Met Gala 2026 Dress: Inside the Custom Dior Look

• Vogue Thailand Instagram

• Wikipedia: Khit errouh

• Izar World Blog

Black Widow (1954) dir. Nunnally Johnson

I don’t know what I was expecting, but it wasn’t this. Expect murder, dumb men and charming costume design. Every time a man walks on screen, I yawned. Not their fault, especially when your co-stars are Gene Tierney and Ginger Rogers. My favorite side character is the somehow comforting fake city skyline view from a balcony.

Watching the Detectives (2007) dir. Paul Soter

Confession: I only watched this for Lucy Liu. The clip of the two main characters chatting in the video rental store convinced me to finally watch this. Violet is a femme fatale wrapped in manic pixie dream girl shell. Crazy that we have Cillian Murphy playing a dorky film bro. Is this movie even real? The costuming really triggered me, a typical side effect of 2000’s fashion.

The Mermaid (1904) dir. Georges Méliès

Sometimes I forget how charming silent short films are. This 4 minute film starts off with a magician performing some tricks. Unfortunately the mermaid appears a little too late for my liking. When she shows up, I’m enraptured and want more of her. Someday I have to go through the rest of his fantastical works, because this man did not let his imagination be limited by his tools. Méliès is the one responsible for the iconic short, A Trip to the Moon.

Candy (1968) dir. Christian Marquand

Why the hell did I watch this? At least I enjoyed Ewa Aulins’ costumes, most of them anyway, but maybe it’s just typical pretty 60’s fashion.

Night Tide (1961) dir. Curtis Harrington

60’s psychological horror involving a sailor who falls in love with a mysterious woman. Sign me up! I rated this 3.5 stars, but after some reflection, it could go up to a 4 (or at least a solid 3.75). It’s giving noir vibes, but beachy. The unique setting is interesting and atmospheric, plus you’re rewarded with some retro shots of the Santa Monica pier.

Hans Christian Anderson’s The Little Mermaid (1975) dir. Tomoharu Katsumata

If you took a shot every time Disney stole an idea for their 1989 version of The Little Mermaid, you would black out. Anyone who adores the original gritty versions of fairytales will enjoy this. The visuals are whimsical and sometimes a little bit unsettling. Early on, I couldn’t shake the lingering feeling that the art style was super familiar. It was then I realized I owned the 90’s storybook version of this, except with updated artwork for certain scenes. Isn’t it magical when movies resurface forgotten memories?

The Age of Innocence (1993) dir. Martin Scorsese

Dare I say, this is my favorite film from Scorsese? The imagery is like a lush layered painting that you can’t stop looking at. Don’t get me started on the costumes! Absolutely gorgeous and mostly historically accurate from initial impressions. Truthfully there were some moments that dragged on a little long for me, including the copious amounts of voiceover. But my opinion changed when the ending came around. Break my heart if you must, but make sure it looks beautiful while you’re doing it.

Mr Malcolm’s List (2022) dir. Emma Holly Jones

It suffers from the boring Netflix look, but otherwise there are glimpses of brilliance here and there. The entire cast is putting in 110%, including Theo James’ mustache. Freida Pinto and Zawe Ashton are gems. We can’t ignore the impact that Bridgerton has had on period piece casting. As an avid fan of the genre, it’s a welcome breath of fresh air. Seeing someone who looks like you on screen is more powerful than you think. You don’t know how starved you are until you get a taste of the crumbs. Someone please cast Dev Patel in a Regency period piece as the ultimate rake (with a shirtless rain scene), I’m begging!

All That Heaven Allows (1955) dir. Douglas Sirk

Wow finally, my first Rock Hudson movie. I now know why the girlies were going feral for him. He’s magnetic on screen, but it’s difficult to pin point why. It’s the je ne sais quoi everyone is always talking about. Sirk directed a truly beautiful film with gorgeous colors and stylistic pre-Giallo lighting. What I wouldn’t do to have Technicolor be a thing again! The storyline is intriguing for the time period, since it centers an older woman who’s struggling to fit into the mold of a devoted widow. Hudson plays Ron, her much younger gardener who wants to become an arborist. Themes of societal expectations, gender norms and class are explored. No notes.

The Drama (2026) dir. Kristoffer Borgli

This is the kind of movie that will spark intriguing discussions. Won’t share much about the plot, since it’s best to go in blind. I wonder if my thoughts will change on a rewatch. From the Boston Globe newspaper feature to the Las Vegas chapel event, the marketing surrounding this movie was top notch. If you missed it, I wrote an entire article on Emma Harwood’s wedding dress (read after you watch it!).

Pirates of the Caribbean: On Stranger Tides (2011) dir. Rob Marshall

You can tell how much this franchise suffers without Elizabeth and Will from the first three movies. The lack of Gore Verbinski could also have something to do with it. It needed more mermaids because they’re infinitely more interesting than the random Fountain of Youth plotline.

Bugonia (2025) dir. Yorgos Lanthimos

I could see where the film was going pretty early on in the movie, but I still managed to be surprised. Lanthimos is such an engaging filmmaker. At this very moment I haven’t watched Save the Green Planet! yet, but I’m on my way to change that.

Aquamarine (2006) dir. Elizabeth Allen Rosenbaum

Thank goodness this wasn’t released earlier, or else I would have been insufferable. It has all the hallmarks of a comfort movie: mermaids, summery vibes and female friendship. This is pure bubblegum fun. If you’ve been paying attention, I’ve been consuming a variety of mermaid related media lately. I can count on my fingers the number of mermaid characters in movies with distinct personalities, and Aquamarine is definitely one of them.

How is it May already? As we slink toward summer, the amount of anticipated new releases increases. My goal is to make more of an effort to visit local indie theaters, especially if they’re showing older films. I’m still in disbelief that My Man Godfrey is celebrating its 90th anniversary this year. Oh to see William Powell on the big screen 🥵

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When the trailer dropped, I immediately recognized Emma’s wedding dress. In fact, I was very close to buying the exact same one for my own wedding, years ago. Enter the Lawrence dress by Jenny Yoo. It’s an A-line silhouette gown with a square scoop neckline. The illusion mesh side panels can be customized to match your skin tone. For a little bit of drama, it’s also backless and features a chapel length train. BHLDN/Anthropologie used to sell it for a cool $1,475, but you can still get it made to order. The best part? It has fucking pockets.

Two words I would use to describe Emma’s style is quiet and unassuming. The brightest color we see her wear is a chartreuse green, during their coffee shop meet-cute at the beginning of the movie. It’s giving Madeleine Elster in Vertigo vibes. Her colors are dialed down when they’re in a relationship (basically neutrals). Jewelry is dainty and minimal. Even though her outfits are casual, they’re still slightly elevated and never really messy. Everything in her adult wardrobe deliberately contrasts with her 15 year old self, who favored oversized emo-esque clothes.

The entire movie is building up to a tension filled wedding, so naturally the wedding dress is a vital piece of the puzzle. To no one’s surprise, Zendaya looks stunning in everything. Danabassis mentioned she sought out the “most cliché, on-the-nose type of wedding dress”. The taffeta gown would read immediately as a “wedding cake topper” according to her interview with The Set Set. The classic A-line silhouette (skirt that starts fitted at the waist and gradually flares out into an A shape) is the main reason, plus hello, it’s a white dress paired with a veil.

To me, the most cliché wedding dress is a strapless embellished ballgown, but this stereotype likely varies with region and culture. Danabassis mentions in multiple interviews that she initially felt that Emma would’ve chosen a more statuesque and understated wedding gown, but the designer compromised with the fuller skirt of the Jenny Yoo dress. This is where I disagree.

“Weddings are performative by nature” is a line spoken by their strict dance instructor after Emma questions their first dance choreography. If a wedding is a performance, the wedding dress is a costume. Emma likely could’ve chosen a dress that’s a little more dramatic than her everyday style, because of the aspirational fantasy of a wedding aesthetic that is sold to everyone. The bride is the main character of the day, after all. It’s actually very normal for brides to pick a dress that’s slightly outside of their comfort zone (no one is wearing formal gowns on a daily basis), which perfectly aligns with Emma’s character. An edgy Vivienne Westwood gown would be too out of character, but the Jenny Yoo dress still feels safe enough.

The final dress is minimalistic, but far from boring, because they tailored the dress to fit her beautifully (as all wedding gowns should be). The clean modern lines and side panels prevent the look from totally entering yawn territory. It’s a common misconception that simple dresses are easier to create versus heavily embellished dresses, but in fact, it’s the opposite. You can’t rely on distractions like lace and embroidery to hide imperfections. Every mistake is shown in full view.

The beauty of the Lawrence dress is that while it doesn’t look super exciting on the hanger, wearing it is another story. Exhibit A: it looks good on both Zendaya and I?! Disregarding the clips in the back, the gown already looked amazing pre-tailoring. It fits pretty well considering my body type doesn’t adhere to standard fit model measurements. Another thing that can’t be ignored is the comfort level, which Emma would’ve definitely prioritized, considering her practical everyday looks. The straps don’t dig into your shoulders. Nothing is itchy or tight. While I adore off-the-shoulder sleeves as a concept, you can’t lift your arms past a certain point, which is a major dealbreaker for someone who wants to dance the night away. The bodice is boned (when stiff material like steel or plastic is sewn into channels) to give it structure, but it’s still comfortable to move in. You need the boning, since you cannot wear a bra due to the sheer side panels. Is this just me defending a dress I love that the costume designer called cliché? Maybe. At the end of the day, I think this wedding dress was the perfect choice for Emma.

As the night goes on and begins to spiral out of control, the full skirt gets messier, matching the energy in the air. When shit hits the fan, Emma pulls on an orange puffer in a rush to get the fuck out of there (understandably so). The jacket does two things visually: 1) makes her stand out, especially now that it’s night and 2) shows the contrast of her “wedding self” and her “true self”. At the end of the movie, our couple is sitting in a diner that was mentioned in passing earlier. She’s wearing her puffer jacket on top of her Jenny Yoo dress. Charlie is still in the bloody tux, but with his windbreaker jacket on. They’re finished with their bride and groom performance. Both of their costumes are soiled and ready to be retired. They can start over now.

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Sources:

• W Magazine: How Zendaya’s Wardrobe in The Drama Reveals Her Character’s Secrets

• The Set Set: Breaking Down Zendaya’s Wedding Look in ‘The Drama’

• Elle: The Subtle Symbolism Behind Zendaya’s Outfits in The Drama

• Vogue Weddings

• @zendaya

Ginza Cosmetics (1951) dir. Mikio Naruse

This movie falls into a category of Japanese films where nothing really happens. It’s basically a slice of life story set in the Ginza district. A single mother is trying to support her young son, but life gets in the way. Nevertheless, Yukiko wakes up everyday and does her damn best. While it lacks drama, there’s something calming about the slow moving, almost meditative way the world is portrayed. The movie is melancholic, but not overtly so. I would say it’s a more realistic portrayal of life, because there isn’t a drastic third act revelation our main character experiences. Naruse is known to direct films that center women protagonists, which makes me excited to see more of his work.

Barbie in a Mermaid Tale (2010) dir. Adam Wood

Raise your hand if multiple scenes in this movie made you laugh out loud more than once. ✋ Don’t know why I’m surprised, because the animated Barbie movies have developed their own cult following. Honestly I haven’t watched any of them besides “Barbie in the Nutcracker”. This a sign for me to expand my horizons, because who doesn’t want yassified sidekick creatures with long ass eyelashes?! If that doesn’t do anything for you, how about Barbie overthrowing a fascist mermaid dictator? She can really do anything.

Miranda (1948) dir. Ken Annakin

The Hays Code really did a number on American film industry, because we have the British creating raunchy (but still tasteful) comedic movies like this! We have Miranda, a beautiful mermaid who convinces a doctor to bring her to London. All the men succumb to her charms, even fighting over who gets to transport her from room to room, bridal style of course. It’s wild work, but I respect it. The mermaid tail looks pretty good on screen; Dunlop, a now defunct rubber company gets credited in the opening. Apparently there’s a sequel called “Mad About Men“, since the original movie did so well. “Mr. Peabody and the Mermaid“, a similar movie was released around the same time in America, starring William Powell. I’ll be looking forward to watching both!

The Ugly Stepsister (2025) dir. Emilie Blichfeldt

When the pink title card appeared on screen, I knew this Norwegian film would aesthetically gel with me (and I was right). 🎀 Darker versions of fairytales are always appealing and this version of Cinderella is told from the stepsister’s point of view as she attempts to mold her appearance to fit beauty standards. The adage rings true here: beauty is pain. It has everything I want: gorgeous costumes, beautiful set design and unforgettable body horror scenes that will be drilled into my brain forever. To me it feels like a spiritual sibling to Jacques Demy’s “Donkey Skin”, but way more disgusting. Do not eat anything 1 hour before or after watching this movie. You have been warned!

Due to my spontaneous hyper fixations, I’m working on two video essays simultaneously. Both will require many film viewings and one will be super research heavy. I really have to come up video concepts that are quick and easy to film, but still entertaining to watch. If anyone has any ideas, I’m all ears. 👂

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If Frankenstein (2025) didn’t win Best Costume, I would have been very surprised. It has all the elements of an Oscar winner. It’s a period piece. There are multiple memorable outfits, including a blood stained wedding dress. It has drama and color. Even the background actors are wearing elaborate bespoke pieces. This is all coming from a biased Kate Hawley fan, because I’m still not over the gorgeousness of her work on Crimson Peak (2015), which Guillermo del Toro also directed.

There were plans to film a video about the costumes in Frankenstein, but life got in the way. Notes were drafted and the $75 “making of” book was procured (on sale, of course) and placed on my bookshelf. There was little sense of urgency to complete the project, since I expected others to publish an in-depth analysis faster than I could.

The recent Academy Award win made me revisit these costumes and I fell in love all over again. Instead of a video, here’s a bunch of visuals that’ll explain why I think this movie deserved the Oscar. You’ll find some silly commentary mixed with detailed info from the book or interviews. It’s not a 20+ minute video essay, but it’s the second best thing.

Long Day’s Journey Into Night (2018) dir. Bi Gan

If you’ve read my other article about Chinese films, you’ll recognize this one! This neo-noir earned a spot in that list because of the dreamlike vibes it brought to the table. It’ll leave you scratching your head but may also awaken some unearthed emotions sitting in your core. Some movies deserve to be seen on the big screen, and this is one of them. Sadly I experienced this movie at home in my pajamas, but I would go see it in theaters in a heartbeat. I haven’t watched “Resurrection” by Bi Gan yet, but watching this made me really excited to see more of his work.

Wuthering Heights (2011) dir. Andrea Arnold

Up to this point, I’ve only watched the 1939 B&W film with Merle Oberon and Lawrence Olivier (iconic, but you forgot the 2nd part of the book babe). No sane person can marathon all “Wuthering Heights” adaptations, because this story, if adapted correctly, should make you feel uncomfortable. You can really feel the cruelty of the moors landscape in this version. It’s cold and relentless. The movie is not perfect, but I commend it for sticking to this gritty style, which fits the tone of the book. I’m starting to think it’s impossible to adapt Emily Bronte’s 300+ page novel into 3hr film (please let me know if I’m wrong).

The Palm Beach Story (1942) dir. Preston Sturges

Screwball comedies hold a special place in my heart, and I’m super happy to say that it was worth reactivating my Criterion Channel account for this movie. From beginning to end, the movie wants to make sure you have an absurdly good time. The plot is wild. Man has trouble funding his “genius” idea. His wife decides to divorce him and sets out on a journey to marry a rich man, in order to get him that money. Want something silly that includes asinine gun slinging millionaires + eccentric but memorable characters + zany hijinks? This movie is worth a watch.

Rebecca (1940) dir. Alfred Hitchcock

This is the Hitchcock movie that I’ve been aching to watch forever, but couldn’t, because it wasn’t streaming anywhere. Thanks to my library’s surprisingly robust movie collection, I was able to pick up the Criterion edition of this! “Rebecca” is a gothic mystery that touches upon memory and obsession, based on the acclaimed novel by Daphne du Maurier. Joan Fontaine’s haunting voiceovers stuck with me even after the credits rolled. Many of my February watches are all about the atmosphere, and this film is overflowing with it. Don’t watch the 2020 version starring Lily James (or at least watch it after), the Hitchcock one is superior. Stories like this look better in B&W anyway.

Wuthering Heights (2026) dir. Emerald Fennell

Unfortunately I watched this in theaters on opening weekend, because I needed to see this monstrosity for myself, instead of relying on opiniated people online. The elaborate soundstage sets and Charli xcx score definitely pulled through for me. That stop-motion title screen made from twisted hair was really lovely. Surprisingly, I didn’t hate the entirety of Margot’s costumes like I thought I would. There are some outfits I disliked, like that pink cellophane nightgown, but the anachronistic costume design is the least of my worries. Unfortunately my disappointment lies with the story and portrayal of the characters. I jumped onto the Jacob Elordi train after “Frankenstein”, but now I’m contemplating jump off. It’s a wild move to make Heathcliff white, and then cast Shazad Latif for Edgar in the same breath. Umm…hello?! The story not only makes huge departure from the book, it flings it at a pile of egg yolks and makes you sit on the gooey mess. Honestly I think this would have gotten better reception if we didn’t have the additional baggage of “Wuthering Heights” fans wanting just one faithful adaptation with appropriate casting.

The Maltese Falcon (1941) dir. John Huston

It took me about 30+ minutes in to realize that I’ve already watched this movie years ago (way before I started logging movies on Letterboxd). My deja-vu didn’t extend to the ending, so guess who’s ass had to stay on the couch until the end? I adore film-noir, but this one didn’t quite hit as hard as it should. Honestly I’ll begrudgingly put up with Humphrey Bogart, as long as Lauren Bacall is on the screen. Maybe that’s why I freaking forgot I watched “The Maltese Falcon”, because she’s not here. If you’re new to film noirs, I would still say it’s worth a watch but maybe just once is enough. Just don’t forget the ending.

Cure (1997) dir. Kiyoshi Kurosawa

Oh my god. It feels so weird to say that I love this. I’m drawn to movies about detectives trying to solve murders, but this film surpassed my expectations. I was left with a heavy feeling of dread in my heart afterwards. Very few modern horror movies affect me emotionally, but this one got me. Definitely have to watch more of Kurosawa’s work, because damn.

Dance, Girl, Dance (1940) dir. Dorothy Arzner

When I was working on my ballerinas in film video essay, this movie was on my watchlist. A mixture of bad timing and volatile streaming service offerings meant I wasn’t able to watch it before filming my video. Criterion said it was leaving at the end of February, so I decided to finally sit down and watch it. Wish I could rewind back time, so I could include Dorothy Arzner’s film in my analysis! There’s a lot of nuance in how the female characters are portrayed, especially for a movie in this time period (exhibit A of why we need more female storytellers). I was both pleasantly surprised and thoroughly entertained. Lucille Ball steals the show playing Bubbles, a saucy dancer who cashes in on her sex appeal. There’s a very high chance the Criterion Blu-ray will suddenly appear in my collection during their next sale.

The Devil’s Eye (1960) dir. Ingmar Bergman

I admit I watched this immediately after watching Christoph Waltz’s Criterion closet video. It took only a mention of Satan sending Don Juan to Earth to deflower a virgin, in order to get rid of his stye, to get me to watch my first Ingmar Bergman film. Even though the movie’s plot is absolutely unhinged, it’s not as frivolous as you would believe. There’s still some dark undertones hanging around, but then again there’s a lesser demon with the cuntiest earring who is trying his best to get laid on Earth. Also Jarl Kulle’s sleepy brooding expression did something to me?! If this was ever remade, Hale Appleman would make the perfect Don Juan. Cast me as Britt-Marie please.

(Disclaimer: I’ve been reading up on Bergman’s bullshit. Like with other problematic famous directors, of which there are many, I still watch their movies but I’m careful not to idolize them or monetarily support them if I can help it.)

That’s all for February. Let’s see how much I’ll get to watch in March; it’ll probably be way more since I have some travel planned. Does anyone else host their own movie marathon on the plane?

Want to see what I’m watching in real-time? Go follow me on Letterboxd!

With everything from the Adidas Tang suit jacket to drinking hot water trending, living through this revival as a Chinese person has been an interesting experience. Embracing MSG, playing mahjong and wearing qipaos are seeing a resurgence. It’s easy to feel conflicted when things you used to be ashamed about are suddenly cool.

Regardless of whatever pulled you here, I’m taking this opportunity to chat about Chinese films I love. Chinese (and Hong Kong) cinema is often overlooked by the general public, especially in comparison to the prestige of Japanese and South Korean cinema.

Please note: I’m only including films from mainland China and Hong Kong directors. The history between the two is complicated but their styles are distinct, so I will be labeling them accordingly. You won’t find any Taiwanese movies listed here, or movies surrounding ethnic minorities in China; though both categories deserve their own lists!

Here are some of my recommendations to get you started:

Farewell My Concubine 霸王别姬 (1993) dir. Chen Kaige | China

If you want a sweeping epic with the theatrical world of Peking Opera as the vibrant backdrop, this is it. A friendship between two boys blooms during their youth while they’re training for the opera. We follow them as they grow up, hone their craft and deepen their relationship. The story eventually leads into pivotal periods of China’s history, like the Cultural Revolution. Politics, gender and art intertwine here. There was an intense feeling of loss that haunted me at the end of the movie.

In the Mood For Love 花样年华 (2000) dir. Wong Kar-Wai | Hong Kong

Set in 1960’s Hong Kong, this restrained love story is a artistic feast for the eyes and ears. Elegant instrumentals mix with Nat King Cole’s velvety voice and our characters walk in slow-motion down narrow streets at night. The subtle shots are a dream to stare at, especially when we’re looking at the exquisite wardrobe of the female lead. It’s one of the main pieces of media responsible for catapulting the qipao/cheongsam into fashion spheres. I even filmed a video essay dissecting the costumes of this movie. Want yearning? How about nostalgic vignettes with fashionable vintage flair? If the answer is yes, start with this film!

Curse of the Golden Flower 满城尽带黄金甲 (2006) dir. Zhang Yimou | China

This Shakespearean tale is filled to the brim with court intrigue and tragic secrets, with the royal family at the center. Once you look past the extreme cleavage, you’ll see that the costumes are so opulent, they teeter on the edge of garishness. Even the sets and armor are overflowing with gold ornate details, matching the prosperity of the Tang Dynasty. It’s worth a watch, even just for the stunning visuals.

Comrades: Almost a Love Story 甜蜜蜜 (1996) dir. Peter Chan Ho-Sun | Hong Kong

Imagine a meet-cute where your love interest tries to scam you. As ridiculous as this sounds, this is how our two characters meet in the sprawling metropolitan city. Their loneliness brings them together, plus their shared love of music, more specifically the songs of pop star, Teresa Teng. I found myself listening to her songs on repeat after watching this film.

Long Day’s Journey Into Night 地球最後的夜晚 (2018) dir. Bi Gan | China

A man returns to his hometown after the death of a family member. Memories begin to resurface; one of them involving a mysterious woman he never forgot about. This is a neo-noir at it’s core. You can spot the twisted plotline, ambiguous scenes and femme fatale from a mile away. Cinematography is both dreamlike and gritty; the shots linger so much, sometimes you forget you’re watching a movie. Not everyone will enjoy this, but it’s the kind of film that really shines on a second watch. Be comfortable with the confusion. The next time around, you’ll be piecing together the pieces that you missed.

Rouge 胭脂扣 (1987) dir. Stanley Kwan | Hong Kong

1930’s Hong Kong + doomed romance + ghosts. What more could you want?! The vibes are immaculate here. Lush shots are filled with women dressed up in patterned qipaos, and their perfectly coiffed hair. The floral wallpaper feels like it could suck you into the walls. When the soft light falls onto Leslie Cheung and Anita Mui’s faces, it’s difficult to avert your eyes. While this movie has a supernatural twist, the reality of humanity is ever-present.

The Last Dance 破・地獄 (2024) dir. Anselm Chan | Hong Kong

Death is incredibly taboo in Chinese culture, so to have any media depicting funeral rites is a rare thing. Our story begins with a wedding planner who ends up switching to funeral planning to dig himself out of debt. Difficulties arise when he needs to contend with an old-school Taoist priest, plus the strict customs of the funeral industry. This film explores themes of grief, misogyny and familial relationships in just 126 minutes. They were able to film this movie in actual funeral parlors in Hong Hom, adding to the authenticity of the story.

You can find the Letterboxd companion list here.

How fitting that the “Jimmy“ trailer, starring KJ Apa, dropped in the year of our lord, 2025, which is coincidentally the year that I finally realized James Stewart was hot. While I’ve been watching classic movies for years, this revelation was very recent. In fact, the feeling has probably been creeping up on me without me realizing it. I wasn’t enamored with him at first; it was nothing like how I felt about seeing Gregory Peck on screen. Stewart takes time to grow on you, like fine wine.

This is me expanding on an existing Letterboxd list (follow me!). Ratings will be based on a 5 chili pepper system. 🌶️

Vertigo (1958) 🌶️

You will notice a trend in my rankings. Young Stewart is HOT. With the earlier movies, there’s the notable absence of any obvious Hollywood age gaps. Old man? With a beautiful woman half his age? Groundbreaking (and very un-hot). His role in Hitchcock’s thriller is a retired detective who becomes obsessed with a mysterious woman he’s trailing. Even though he’s aged, the trademark stare is still recognizable, so I’ll give him one pepper out of respect.

Bell, Book and Candle (1958) 🌶️

This is basically reverse Vertigo, but with witchcraft. Released in the same year, Stewart is about 50 years old here while his costar, Kim Novak is 25 years old. My notes are the same as the previous movie. However there’s something subtle in the styling that puts this in a higher spot than Vertigo. Or maybe it’s James Wong Howe’s cinematography? He just looks a teeny tiny bit better here.

Rear Window (1954) 🌶️🌶️

One of the first Jimmy Stewart movies I’ve ever watched. I admit I need to rewatch this again to see if my rating changes. He spends his time confined to his room and being a nosy bitch. It also gets negative points because he doesn’t wear any of his trademark suits; all of the heavy lifting is done by Grace Kelly. Though he is a bit younger here, so the age discrepancy is less noticeable (22 years, but at least he isn’t 50).

Made For Each Other (1939) 🌶️🌶️🌶️

Okay, now we’re talking! Tonally, this movie is all over the place. You think you’re getting a fun romance story at the beginning, but it ends up being really somber. Stewart is wearing his signature tailored suits and big hats. Don’t forget the cocked brow that makes my heart skip a beat!

On Our Merry Way (1948) 🌶️🌶️🌶️

Stewart only appears in one of the segments; all of the stories are answering the question “What influence has a baby had on your life?”. It’s a shame he isn’t in the entire movie, because the jazz musician story has the most interesting plot out of the 3 vignettes. It’s full of slapstick humor and charming characters you enjoy watching. Oh, and we get a scene with Stewart holding a lemon in his mouth…3 chili peppers!

Ziegfeld Girl (1941) 🌶️🌶️🌶️

Another movie with Stewart in a supporting role. He’s way overshadowed by his female co-stars. I mean how can you compete with Hedy Lamarr, Judy Garland and Lana Turner? Regardless, he looks so good here.

You Can’t Take It with You (1938) 🌶️🌶️🌶️🌶️

Thank you Frank Capra. The story revolves around two families that couldn’t be anymore different. The Sycamores are eccentric, while the Kirby family is wealthy and cold. Stewart approaches life with a good sense of humor and matches the chaotic energy of her family. They get into some silly situations like screaming during fine dining and dancing in the park at night. Marry me please.

It’s a Wonderful Life (1946) 🌶️🌶️🌶️🌶️

Thank you (again) Frank Capra. This iconic Christmas movie is an interesting entry because it Stewart’s first post-war movie role. We no longer have the same young actor from the 30s, instead we’re seeing a hardened man who has experienced the brutality of war. I finally watched it this year, and holy crap, his performance is so touching. I can see why this is a famous classic. We’re blessed with so much here: Jimmy wearing a varsity sweater, the tension during that phone call scene and that one loose strand of hair at the end of the movie.

The Shop Around the Corner (1940) 🌶️🌶️🌶️🌶️

During my initial watch of this, I totally forgot that I watched the 1949 musical version first (In the Good Old Summertime), but this is the superior version. The screenplay is so sharp and the delivery is even better. Stewart and Sullavan flirting/fighting simultaneously during their scenes together will do things to you. Do you love writing letters, classic literature or a 6ft Jimmy Stewart looming over everyone? Watch this!

The Philadelphia Story (1940) 🌶️🌶️🌶️🌶️🌶️

I’m insanely jealous that Katharine Hepburn got to be in a movie with both Cary Grant and James Stewart. Some people just have all the luck. If I was Tracy Lord, I would have simply chosen both of them (à la Design For Living). Stewart plays Mike Connor, a sardonic writer (my personal weakness). They have an ardent conversation in the library which I particularly love. Don’t even get me started on the midnight swim, champagne and slow dancing on the fountain scene. It’s perfection. It’s pure cinema, baby.

Vivacious Lady (1938) 🌶️🌶️🌶️🌶️🌶️

Automatic 5 pepper rating, because this is THE MOVIE that flipped a switch for me. It’s likely due to the insane chemistry between him and Ginger Rogers. Peter is a botany professor, who is equal parts charming and awkward. The way he stares into her eyes during multiple scenes is electrifying, tender and erotic, all at once. From eating corn to looking through a microscope, the scenes are overflowing with sexually charged tension. This lighthearted movie could easily become a comfort watch for me. It’s a damn shame they didn’t star in more movies together because I would have eaten all of them up.

Audiences don’t know how to behave anymore, especially in a post-COVID world. Everyone has experienced their fair share of rude movie-goers. I have a personal vendetta against people who tap through Instagram stories on their max brightness screen. Go home!!! Everything about going to the movie theater is inconvenient. Why should we pay for a subpar experience, especially when compared to the comfort of our own homes?

This year I began hosting Friday cozy movie nights, complete with homemade popcorn, themed decor and chic mood lighting (aka lots of candles). There’s a sleek new sound system, surround sound and all. If I’m feeling particularly inspired, I send invites and compile a pre-movie playlist to play in the background while guests nibble on appetizers before the movie. For ultimate coziness, there’s even a floor futon with lots of fuzzy blankets within arm’s reach. Even after all this, I still make an effort to watch movies in the theaters.

Many of my fondest memories are intrinsically tied to movie theaters. There was that time when I was watching Lion King with my family, and decided the Mufasa ghost in the sky scene was the perfect time for a bathroom break. My town’s local theater was the setting of my first date. No idea who or what compelled us to watch Starsky and Hutch, but it acts as a touchstone for that period in my life. Like every self-respecting nerd in the 2000s/2010s, my friends and I dressed up for midnight premieres for the Harry Potter movies. Another core memory is dancing with my partner in an empty theater during the end credits of Cinderella.

There’s something magical about sitting in a theater with an engaged audience. Laughter erupts at the perfect time. Gasps occur in unison. Tension hangs in the air like an anvil suspended by a frayed rope. Even without turning your head, you feel the person down the aisle sobbing and decide to release the tears you’ve been holding in. It’s quite poetic when you think about it. All of these humans have decided to sit in this dark room and experience a story together. Everyone is seeing the same images and listening to the same words, but can come out of it feeling differently.

I’ll never forget the distressed person who exclaimed out loud during the ending sequence of Inception. Then there’s the palpable silence when Vice-Admiral Holdo splits the First Order ship in half in The Last Jedi. Or how about hearing your neighbor’s surprise laughter during that scene in Weapons?

The memories aren’t only limited to inside of the theater. It healed my inner child when the girlies + gays decided to dress up to watch Barbie. One woman literally stopped her car to say she liked my top while I was walking on the sidewalk. This type of interaction wasn’t a rare occurrence during that summer. You could spot other fans from a mile away; the Barbie branding was an invitation to acknowledge each other, through knowing smiles or full-blown conversations. In a world of increasing lonely people, this openness felt both foreign and sorely missed at the same time.

Another thing I love about going to the movies is the comforting routine of it all. Drizzling “butter” on my tub of popcorn, making sure the bottom kernels are thoroughly coated, of course. That feeling of clinking ice cubes in carbonated liquid when I sip from my comically large soda cup. Going early to settle in while the pre-show ads drone on in the background. The phone is turned off. Lights dim and my anticipation grows. It’s similar to that feeling after they check your safety restraints for a rollercoaster ride. You’re strapped in and about to embark on something, whether or not you’re ready for it.

Recently I’ve made it a mission to rewatch my favorite movies on the big screen, especially the ones that I’ve only experienced on a laptop or tv. Nothing can compare to watching a story you know by heart in a movie theater. Sad scores weigh on your heart more heavily. Nothing else matters but the main character’s current conflict. Laughter is lighter. Rage feels more visceral. The yearning is more profound. A large screen allows you to be fully engulfed in the world. In this dim room, you’re allowed to react without fear of judgement. No need to worry about incoming text messages or muting ad breaks. When you cross the threshold of this room, you leave the chaos of the outside world where it belongs.

Since it was the 20th anniversary of Joe Wright’s Pride and Prejudice, I knew I had to watch it in theaters because I’m pretty sure my initial viewing of this was on a 13in laptop. To my surprise, watching Mr. Darcy walk out in the hazy dawn with Dario Marianelli’s score playing in the background, brought me to tears. Everything from the fog covered trees to Elizabeth bathed in a cool toned glow gave me goosebumps. The look he gives her when he utters the line: “You have bewitched me, body and soul” is where I fucking lost it. I’ve lost track of how many times I’ve watched this movie, but never before have I cried during this scene (teared up, yes). Even though I knew what was going to happen, I didn’t anticipate the emotions to hit me like a high-speed bullet train.

I hope everyone experiences something similar at least once in their life. That feeling of something familiar still managing to surprise you in unexpected ways is extraordinary. It’s amazing how stories crafted by strangers can speak to your innermost self. They impact the way we view the world, or even the way we view ourselves. Going to the movies will always be a gamble. You never know what sort of experience you’ll get, but isn’t that what just fully living your life is like?

Now I’m not promising every movie-going experience will be lifechanging or profound. The vibes of a packed theater on opening night of a Blockbuster movie will be very different from an early weekday showing of a classic movie. Can’t wait until I reach a point in my life where a 10am movie on a Tuesday is possible.

Remember to support your local indie theaters! That is where I’ve had the most positive experiences, because you’re usually in company of other cinephiles. Take a chance on a foreign film you’ve never heard of. Go watch your childhood favorites or films that you never got to experience on the silver screen.

It’s worth it, I promise.

-Cathy 💖