Latest news with #TheIncredibles'
Scottish Sun
11 hours ago
- Entertainment
- Scottish Sun
How trendsetting Brit Anna Wintour became fashion's ultimate force at Vogue – with NO ONE safe from her sharp tongue
Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) SHE came, she saw the fashion world from behind her Chanel sunglasses, she conquered. After 37 years as the formidable force on US Vogue, Anna Wintour is stepping aside as Editor-in-Chief. Sign up for Scottish Sun newsletter Sign up 6 Anna Wintour has announced she's quitting her iconic role at American Vogue in a shock career move Credit: GC Images 6 Anna, pictured in 1996, has had her signature razor-sharp bob since the age of 14 Credit: Getty The move marks the end of an era, in which the UK-born power player ruled the fashion industry with a perfectly manicured fist. One flick of her hair or glance and your fate was sealed. Dame Anna, honoured by Queen Elizabeth II in 2017 in full Chanel couture, turned unknown models into stars, transformed 'trashy' celebs into tastemakers, and set trends the high street copied. Her signature razor-sharp bob — which she has had since the age of 14 — needs two daily blow-dries (morning and evening) and near-constant trims. Her attitude is equally polished — and feared. Nicknamed Nuclear Wintour for her icy reputation, she remains fashion's most enigmatic personality. The documentary The September Issue offered a rare peek inside Vogue's Manolo Blahnik-strewn corridors, capturing the chaos of assembling an 840-page edition of the magazine in 2007. Debuting in 2009 at Sundance and grossing around £7million, the film cemented Anna's status as the ultimate force in fashion. Surrounded by 'thin, rich and young' people Her frosty persona inspired The Devil Wears Prada's Miranda Priestly — Meryl Streep's pursed lips and cutting glares were taken straight from the Wintour playbook — and even The Incredibles' eccentric designer Edna Mode was modelled on her. But inside Vogue, Anna's power wasn't a scowl or stare. It was a yellow Post-it note stuck to the bottom of a printout, bearing the a seal of approval 'AWOK' — Anna Wintour OK — which could make or break careers. One star Anna truly legitimised was Kim Kardashian. When she boldly put Kim and then-fiance Kanye West on Vogue's cover in 2014, the fashion elite gasped. Anna Wintour finally sets record straight on Met Gala outfit rule rumor after years of speculation Her response? 'If we only put tasteful people on the cover, no one would talk about us.' Anna also championed other stars — giving Kendall Jenner strong Vogue backing and helping her break into high fashion. She championed Gisele Bundchen in the late 1990s and early 2000s, featuring her on many Vogue covers, and Kate Upton's debut on the front of the magazine in 2013 signalled a shift toward embracing curvier models in the industry. Infamously private, Anna Wintour's influence is impossible to ignore. The Devil Wears Prada even became a musical — proof of her cultural reach. At 75, she kept Vogue not just relevant, but reigning as fashion and culture's ultimate authority. From supermodel golden eras to today's social media trends, Anna transformed the title from a magazine into a global style empire. Every May, she breaks the internet with the Met Gala — her annual, star-studded spectacle where celebrities stun in jaw-dropping looks. What was once a low-key fundraiser transformed under her reign into fashion's most exclusive, over-the-top, meme-worthy night. 6 Anna Wintour cracks a rare smile while at work in 1989 Credit: Getty 6 Anna's frosty persona inspired The Devil Wears Prada's Miranda Priestly Credit: Alamy Starting in 2004, Anna harnessed showbiz glamour to skyrocket the event into global fame. Today, from TikTokers to A-listers, the guest list is fiercely selective — just 30 seconds of fame on a bright red carpet holds massive cultural weight. While Anna wields immense power over designer brands and celebrities, she has also had a huge impact on the high street. From her very first Vogue cover mixing budget jeans with couture, she has championed accessible fashion for all. Anna has been key in shaping runway trends that trickle down to high street retailers. In 2009, she launched Fashion's Night Out, turning shopping into a celebrity- studded, cocktail-fuelled event in New York and London, raising funds for causes such as the NYC AIDS Fund and September 11 Memorial until the event ended in 2013. But Anna did not just dip into retail — she transformed the high-street experience. By blending celebrity appeal, charity and immersive theatre, she redefined how brands engage with shoppers. She was a fixture at Topshop's London Fashion Week shows and has long championed luxury-meets-store collaborations — think Balmain x H&M — bringing runway glamour to the masses and giving the UK high street a major boost. FASHION QUEEN In an interview with The Times last year, Anna tipped her hat to Gap for snapping up designer Zac Posen and gave props to Uniqlo for working with Givenchy's former artistic director Clare Waight Keller, who had designed Meghan Markle's wedding dress. The fashion queen said: 'These big mass companies have finally clocked the power of creativity. You wouldn't have seen that ten, 15, even 20 years ago.' Anna has two children — Charles, a psychiatrist born in 1985, and TV producer Katherine, known as Bee, who she had in 1987. Their father is child psychiatrist David Shaffer, who Anna was married to from 1984 to 2020. She is reportedly romantically linked to actor Bill Nighy, though they describe themselves as close friends. Still, in Wintour's world, loyalty can be as fleeting as fashion trends. 6 When Anna boldly put Kim and then-fiance Kanye West on Vogue's cover in 2014, the fashion elite gasped Credit: AP:Associated Press 6 Anna with fellow Brit fashion icon Naomi Campbell Credit: Getty Her decades-long friendship with the late Andre Leon Talley — once her trusted right-hand at Vogue — ended bitterly after he was pushed aside. In his 2020 memoir The Chiffon Trenches, Talley claimed she preferred to surround herself with 'thin, rich, and young' people. Ouch. Top designers haven't escaped her icy glare either. After various scandals, names such as John Galliano and Dolce & Gabbana were swiftly frozen out of Vogue's world — proving that even fashion royalty are not safe from her. Yet despite the many ups and downs, one thing is certainly true. Anna Wintour is a force, a legend and one hell of a woman whose influence stretches far beyond the pages of Vogue. She will now focus on her roles as Global Editorial Director and Chief Content Officer at the magazine's publisher Condé Nast. Whoever is picked to take over her old job better be able to fill her Manolo Blahnik pumps.
The Irish Sun
11 hours ago
- Entertainment
- The Irish Sun
How trendsetting Brit Anna Wintour became fashion's ultimate force at Vogue – with NO ONE safe from her sharp tongue
SHE came, she saw the fashion world from behind her Chanel sunglasses, she conquered. After 37 years as the formidable force on US Vogue , Anna Wintour is stepping aside as Editor-in-Chief. 6 Anna Wintour has announced she's quitting her iconic role at American Vogue in a shock career move Credit: GC Images 6 Anna, pictured in 1996, has had her signature razor-sharp bob since the age of 14 Credit: Getty The move marks the end of an era, in which the UK-born power player ruled the fashion industry with a perfectly manicured fist. One flick of her hair or glance and your fate was sealed. Dame Anna, honoured by Queen Elizabeth II in 2017 in full Chanel couture, turned unknown models into stars, transformed 'trashy' celebs into tastemakers, and set trends the high street copied. Her signature razor-sharp bob — which she has had since the age of 14 — needs two daily blow-dries (morning and evening) and near-constant trims. READ MORE ON ANNA WINTOUR Her attitude is equally polished — and feared. Nicknamed Nuclear Wintour for her icy reputation, she remains fashion's most enigmatic personality. The documentary The September Issue offered a rare peek inside Vogue's Manolo Blahnik-strewn corridors, capturing the chaos of assembling an 840-page edition of the magazine in 2007. Debuting in 2009 at Sundance and grossing around £7million, the film cemented Anna's status as the ultimate force in fashion. Surrounded by 'thin, rich and young' people Her frosty persona inspired The Devil Wears Prada's Miranda Priestly — Meryl Streep's pursed lips and cutting glares were taken straight from the Wintour playbook — and even The Incredibles' eccentric designer Edna Mode was modelled on her. Most read in Fabulous But inside Vogue, Anna's power wasn't a scowl or stare. It was a yellow Post-it note stuck to the bottom of a printout, bearing the a seal of approval 'AWOK' — Anna Wintour OK — which could make or break careers. One star Anna truly legitimised was Kim Kardashian. When she boldly put Kim and then-fiance Kanye West on Vogue's cover in 2014, the fashion elite gasped. Anna Wintour finally sets record straight on Met Gala outfit rule rumor after years of speculation Her response? 'If we only put tasteful people on the cover, no one would talk about us.' Anna also championed other stars — giving Kendall Jenner strong Vogue backing and helping her break into high fashion. She championed Gisele Bundchen in the late 1990s and early 2000s, featuring her on many Vogue covers, and Kate Upton's debut on the front of the magazine in 2013 signalled a shift toward embracing curvier models in the industry. Infamously private, Anna Wintour's influence is impossible to ignore. The Devil Wears Prada even became a musical — proof of her cultural reach. At 75, she kept Vogue not just relevant, but reigning as fashion and culture's ultimate authority. From supermodel golden eras to today's social media trends, Anna transformed the title from a magazine into a global style empire. Every May, she breaks the internet with the Met Gala — her annual, star-studded spectacle where celebrities stun in jaw-dropping looks. What was once a low-key fundraiser transformed under her reign into fashion's most exclusive, over-the-top, meme-worthy night. 6 Anna Wintour cracks a rare smile while at work in 1989 Credit: Getty 6 Anna's frosty persona inspired The Devil Wears Prada's Miranda Priestly Credit: Alamy Starting in 2004, Anna harnessed showbiz glamour to skyrocket the event into global fame. Today, from TikTokers to A-listers, the guest list is fiercely selective — just 30 seconds of fame on a bright red carpet holds massive cultural weight. While Anna wields immense power over designer brands and celebrities, she has also had a huge impact on the high street. From her very first Vogue cover mixing budget jeans with couture, she has championed accessible fashion for all. Anna has been key in shaping runway trends that trickle down to high street retailers. In 2009, she launched Fashion's Night Out, turning shopping into a celebrity- studded, cocktail-fuelled event in New York and London , raising funds for causes such as the NYC AIDS Fund and September 11 Memorial until the event ended in 2013. But Anna did not just dip into retail — she transformed the high-street experience. By blending celebrity appeal, charity and immersive theatre , she redefined how brands engage with shoppers. She was a fixture at Topshop's London Fashion Week shows and has long championed luxury-meets-store collaborations — think Balmain x H&M — bringing runway glamour to the masses and giving the UK high street a major boost. FASHION QUEEN In an interview with The Times last year, Anna tipped her hat to Gap for snapping up designer Zac Posen and gave props to Uniqlo for working with Givenchy's former artistic director Clare Waight Keller, who had designed The fashion queen said: 'These big mass companies have finally clocked the power of creativity. You wouldn't have seen that ten, 15, even 20 years ago.' Anna has two children — Charles, a psychiatrist born in 1985, and TV producer Katherine, known as Bee, who she had in 1987. Their father is child psychiatrist David Shaffer, who Anna was married to from 1984 to 2020. She is reportedly romantically linked to actor Bill Nighy, though they describe themselves as close friends. Still, in Wintour's world, loyalty can be as fleeting as fashion trends. 6 When Anna boldly put Kim and then-fiance Kanye West on Vogue's cover in 2014, the fashion elite gasped Credit: AP:Associated Press 6 Anna with fellow Brit fashion icon Naomi Campbell Credit: Getty Her decades-long friendship with the late Andre Leon Talley — once her trusted right-hand at Vogue — ended bitterly after he was pushed aside. In his 2020 memoir The Chiffon Trenches, Talley claimed she preferred to surround herself with 'thin, rich, and young' people. Ouch. Top designers haven't escaped her icy glare either. After various scandals, names such as John Galliano and Dolce & Gabbana were swiftly frozen out of Vogue's world — proving that even fashion royalty are not safe from her. Yet despite the many ups and downs, one thing is certainly true. Anna Wintour is a force, a legend and one hell of a woman whose influence stretches far beyond the pages of Vogue. She will now focus on her roles as Global Editorial Director and Chief Content Officer at the magazine's publisher Condé Nast. Whoever is picked to take over her old job better be able to fill her Manolo Blahnik pumps.
Time of India
11-06-2025
- Entertainment
- Time of India
Peter Sohn selected as director for third 'The Incredibles'; former director Brad Bird joins team as screenplay writer—fans excited
The third instalment of the popular animated film series 'The Incredibles' has finally found its director. , who has worked on creating blockbuster animated films like 'The Good Dinosaur' and 'Elemental,' will be taking on the behind-the-camera role for the upcoming project. Tired of too many ads? go ad free now Director for ' The Incredibles 3 ' announced Peter Sohn is going to take over as director for the third film of the 'The Incredibles' franchise. The announcement was made live during the Annecy Festival by the representatives of the film's production studio. worked on directing the first two films of the animated franchise. Not only that, but he also worked on the screenplays of the films. For the third project, Brad will be returning as the writer for the project, while Sohn, who has also been involved in the first two films while working alongside Bird, will be taking over the role of the director. About 'The Incredibles' franchise 'The Incredibles' focuses on the lives of a family of 'Supers,' i.e., humans who have superhuman strengths and use them to save the world from evil villains, one at a time. The main focus is on Bob and Helen Parr, who first live in the suburbs and masquerade as a 'normal' family along with their three children. They have been forced by a government order to hide their powers and status in the first film, while the latest project finally sees the reinstatement of their superhero status. Brad Bird was Sohn's mentor for a lot of projects and played a part in personally choosing Sohn to work on the third film himself. Accolades won by 'The Incredibles' Ever since their release in 2004, the film franchise has garnered a lot of success. Collectively, both of the films earned around 1.8 billion dollars, as per The Hollywood Reporter. 14 years later, the second sequel was released, which also became a huge hit upon its release. The second film alone garnered around 1.23 billion dollars at the time.
New York Times
21-03-2025
- Entertainment
- New York Times
How ‘Severance' Uses Old Tricks to Make Its Office Hell
Contains spoilers about past episodes but not the Season 2 finale. In 'Severance,' the Apple TV+ series about a shadowy company where some employees have their consciousness split into two parts, with the 'innie' doing all the work and the 'outie' remembering none of it, the office is sparse and lifeless. The show reinforces that theme with its cinematography and production design. Here are some of the ways 'Severance' invokes and inverts classic film tricks to create its corporate hell. Repetition Removes Individuality From the earliest days of moving images, filmmakers have used the rigid geometry of desks and cubicles and dense repetition to create images of people together, yet isolated, trapped and stripped of identity by corporate bosses. Films like 'The Apartment,' from 1960 (below, top left), and even Pixar's 2004 animated movie 'The Incredibles' (top right) use these repetitive shots to suggest a corporate mass that takes away individual identities to instead create 'company men,' said Jill Levinson, a professor at Babson College and the author of 'The American Success Myth on Film.' Grids fill the screen in those movies and others, including in shots of the oppressive call center of the 2018 satire 'Sorry to Bother You' (above left) and the lifeless corporate floor of Mattel in 'Barbie,' from 2023 (above right), creating a claustrophobic sense of confinement. One of the earliest examples of this image on film came in King Vidor's 1928 silent movie 'The Crowd': In Jacques Tati's 'Playtime,' from 1967, Tati's recurring character, Monsieur Hulot, finds himself out of sync with the impersonal settings of midcentury Paris: 'Severance' uses some of the same approach. The Lumon Industries office was inspired by the workplaces of the 1960s, Jeremy Hindle, the show's production designer, told the architecture magazine Dezeen. Back then most offices were very clearly places to work, creating a strict separation between office and domestic life, he said. 'I find workplaces now kind of 'fake' workplaces — they're home-ish.' The opening sequence modifies the multitudinous office shot to reflect the show's splintering identities, with a grid of desks that has the same worker in every cubicle: the innie Mark S, played by Adam Scott: In other ways, Levinson said, 'Severance' bucks office-film convention. Instead of leaning on multiples, it most commonly isolates its workers in unnervingly large rooms. Office Fixtures Trap Workers The concept of confinement is central to 'Severance.' While many characters chafe against the limits of their roles in life, for the innies the imprisonment is literal: They are effectively trapped on the severed floor, only perceiving life in the workplace. The sense of restriction is reinforced by the low ceilings in 'Severance,' including in the hallways and the offices themselves, Levinson noted. Low ceilings trap characters and are useful tools particularly in horror movies, like in the claustrophobic corporate spaceship in 'Alien' (1979) or the tight architecture of the Overlook Hotel in 'The Shining' (1980). The corridors in 'Severance' recall an extreme example of low office ceilings: the 7 ½ floor in 'Being John Malkovich,' where employees have to physically hunch over as they exit the elevator: The work itself can also be the cage. In one scene in the first season of 'Severance,' Dylan G.'s (Zach Cherry) screen resembles a shot from the 1996 movie 'American Beauty,' with both characters looking at their reflections trapped behind the work on their screens: If the spaces or the work itself form the prisons of office life, the wardens are the clocks. Shots of them are another visual trope in workplace movies, one that calls back to the symbolic clocks in old German Expressionist films: Employees repeatedly glance at the time, waiting to be free. (Levinson shows her students a montage of similar shots across decades.) It happens in the 2002 movie 'About Schmidt,' as Jack Nicholson, as a retiring insurance man, stares at the clock waiting for his final day of work to end … … and in the aptly titled 1997 comedy 'Clockwatchers,' about four young women working in a soul-sucking office: Because innies exist only on the severed floor, there is little reason for one to look forward to heading home. In the second season, when Mark S. looks at the clock as the workday winds down, it is a sign that risky reintegration surgery to combine his severed halves is starting to work. The Boss's Throne In 'Severance,' the managers on the severed floor exert quiet corporate power from behind the desks in their private offices. Severed workers stand before the seated supervisor, waiting to speak as in a royal court. The filmmakers Joel and Ethan Coen often use that image of 'the man behind the desk' in their films, including, clockwise from top left, 'The Big Lebowski,' 'The Hudsucker Proxy,' 'Fargo' and 'Barton Fink.' The boss's desk is a barrier between the protagonist and real power: Employees' desks are, by contrast, vulnerable. Their cubicles make them easy targets for bosses 'just swinging by,' like in the 1999 workplace malaise movie 'Office Space' … … or the accommodations could be absurdly ineffective, as in the 1985 sci-fi black comedy 'Brazil.' One desk is divided by a wall and split between two employees who must play tug of war for the work surface: The boss's desk and its power are consistent, even if the person behind it isn't. Between the two seasons of 'Severance,' the supervisor Harmony Cobel (Patricia Arquette) is replaced by her subordinate Seth Milchick (Tramell Tillman); he takes her place both at the desk and in the same shots she occupied. Elevators as Symbolic Portals In 'Severance,' the office elevator is a site of transformation between a severed worker's two identities. As it nears the severed floor, the elevator acts as a breaker switch between the innie and outie identity, with the innies waking up on the office floor, locked away from the outside world. In the 1957 drama 'A Face in the Crowd,' the main character's fall from grace is made literal as he goes down the network television company's elevator, watching the buttons tick to lower floors: By contrast in 'The Hudsucker Proxy,' the inventor turned executive played by Tim Robbins is crammed into the back of an elevator until the operator realizes he is important and goes express to the top floor. The doors close behind him as he looks uneasy with his ascent: The other pivotal elevator in 'Severance' is at the end of a pitch black corridor. It goes to the mysterious testing floor, and it haunts one character so much that he repeatedly paints it in gobs of black oil paint without knowing what it is. That elevator is all descent. Infantilizing Perks Lumon Industries emphasizes its workplace perks for innies, which create brief spots of color within the office's otherwise drab environs. In 'Severance,' employees strive for melon bars, finger traps and Music Dance Experiences as rewards for their hard work, supposed morale boosts that are infantilizing and ultimately — and laughably — ineffective. Other shows, like 'Silicon Valley' and 'Broad City,' have also memorably used moments of forced fun to emphasize the awkward sterility of office life: In 'The Office,' a sad celebration features a depressing fruit tray … … a forebear of the various melon-based functions in 'Severance.' 'Office Space' includes an even sadder birthday scene, in which the downtrodden employee Milton is passed over for a slice like the most unpopular kid at a party: It's a deeply uncomfortable moment for Milton, but is it any more awkward than other petty workplace slights? It's yet another office indignity most workers would like to forget, the kind that 'Severance' visually aggregates in order to build its humiliating hell for innies — and spare the outies. It all may make severed life seem not so bad.
Los Angeles Times
29-01-2025
- Entertainment
- Los Angeles Times
Oscars flashback: Animation — and Pixar — have an ‘Incredibles' night
Starting in 2002, feature-length animated films were included in awards season in the same way their short animated film compatriots had been since 1932 — with their own dedicated Academy Awards category. The new category was a breakthrough at the time, though in the years since it has also been controversial: Does having a dedicated animated feature category exclude worthy films from being included in the best picture discussion? That discussion has swirled annually since the late 2010s — but it wasn't part of the discourse on Feb. 27, 2005, when the 77th Academy Awards were held at the Kodak Theatre in Los Angeles and 'The Incredibles' took home Pixar's second of a series of Oscar wins in the category. Director-writer Brad Bird won for 'Incredibles' with his first nomination. It was Pixar's second film to earn the feature Oscar; 'Finding Nemo' had won the previous year. Bird was also nominated for the original screenplay but didn't win; in 2008, he would win again in the feature category with 'Ratatouille.' Pixar films have won 11 of the animated feature film awards that have been given out. Disney would go on to acquire Pixar in 2006. Accepting the award from Robin Williams, Bird (who wore an oval-shaped 'Incredibles' themed pin on his lapel) noted, 'I don't know what's more frightening, being watched by millions of people, or the hundreds of people that are going to be annoyed with me tomorrow for not mentioning them tonight.' He added that 'Animation is about creating the illusion of life, and you can't create it if you don't have one,' then went on to thank his wife and children. There were only two other nominees in the category, each on their first and (thus far only) nomination: Bill Damaschke ('Shark Tale') and Andrew Adamson ('Shrek 2'). 'Shrek' was the first winner in this category in 2002, with the award given to Aron Warner. For the first 50 years of animated short films receiving Oscars, the awards were given to the producers of the films, but current rules give the award to the person most directly responsible for the creation of the film — usually the director. In 2005, animated short film winner Chris Landreth wasn't just the director of the documentary 'Ryan,' he was also a co-star. The film focused on Landreth's interview with Canadian animator Ryan Larkin, who'd been nominated for his own Oscar in 1970 for 'Walking,' and who fell on hard times in later years. Landreth, who had also been nominated in this category in 1996, dedicated the award to Larkin. 'I am here tonight because of the grace and humility of one guy watching from Montreal,' he said. Larkin died in 2007. The other nominees represented a wide spectrum of animation styles and largely leaned on humor and animals — or both. 'Gopher Broke' by Jeff Fowler and Tim Miller looked at the frustration of a hungry, ambitious gopher; it was their first and so far only nomination. Bill Plympton received his second nomination (his first came in 1988) for 'Guard Dog,' which provided insight to the canine mind and why some dogs bark at everything. 'Lorenzo' was nominated for director Mike Gabriel (who co-wrote the script with Joe Grant) and producer Baker Bloodworth and was about a cat whose tail develops a personality of its own. It was their first and only nomination. 'Birthday Boy' took a different turn, looking at a young boy during the Korean War who roams his town to collect the remains of battles around him. The nomination went to first-timers Sejong Park (writer-director) and Andrew Gregory (producer).
