The Oncer Games

 “I love you. I’ve loved you from the moment we raced each other in that park. I have loved you at every dance, on every walk, every time we’ve been together and every time we’ve been apart. You do not have to accept it or embrace it or even allow it. Knowing you, you probably will not. But you must know it, in your heart. You must feel it because I do. I love you.”

“…I love you too.”

ANTHONY BRIDGERTON AND KATE SHARMA IN BRIDGERTON SEASON TWO (PART TWO)

BEST DANCING PER YEAR (as voted by my followers) ↳ 2021: Encanto

“We wanted something spectacular but really tasteful,” says exec producer Laurie McCarthy. “It had to live in the world of someone who had 100 tailors at her disposal but who also was going to get married somewhat unexpectedly.”

Costume head Meredith Markworth-Pollack commissioned Debra Moreland to custom-design the crown and veil for the regal occasion. The earrings are from BHLDN. “They’re one of my favorites,” says Markworth-Pollack of the bridal brand. Designer Amanda Judge’s Untamed Petals crafted the bridal belt. “Viewers never know how extreme we’re going to go…by being a little more traditional we’re actually surprising them,” Markworth-Pollack says.

Because of the boldness of the crown, the team went with an upswept coif for Kane. “Usually we see Mary with her hair down, but it’s so classic with her hair pulled back,” enthuses Markworth-Pollack. “I think it’s quite stunning.”

Red-carpet favorite Monique Lhuillier offered production 10 dresses for consideration, but when the team saw this spring 2012 Platinum Collection Catherine dress, it was no contest. “I knew this was the one,” Markworth-Pollack says. With its long sleeves and lace, the gown may evoke a certain other royal bride (paging Kate Middleton!), but the homage wasn’t intentional. “We wanted something that looked regal and beautiful but also elegant,” she explains. Once they settled on the delicate Chantilly lace gown, it required only one alteration: “We had to do some tucks at the bottom because of the dancing sequence,” Markworth-Pollack reveals.

Because DreamWorks was concerned about theological accuracy, Jeffrey Katzenberg (former Disney chairman) decided to call in Biblical scholars, Christian, Jewish, and Muslim theologians, and Arab American leaders to help his film be more accurate and faithful to the original story. After previewing the developing film, all these leaders noted that the studio executives listened and responded to their ideas, and praised the studio for reaching out for comment from outside sources.

The animation team for The Prince of Egypt included 350 artists from 34 different nations. Careful consideration was given to depicting the ethnicities of the ancient Egyptians, Hebrews, and Nubians properly.

Both character design and art direction worked to set a definite distinction between the symmetrical, more angular look of the Egyptians versus the more organic, natural look of the Hebrews and their related environments. The backgrounds department, headed by supervisors Paul Lasaine and Ron Lukas, oversaw a team of artists who were responsible for painting the sets/backdrops from the layouts. Within the film, approximately 934 hand-painted backgrounds were created.

DISHONOR

DISHONOR ON YOUR WHOLE FAMILY

DISHONOR ON YOU