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  • Episode 206 of “The Cinephile Hissy Fit” Podcast — Every Movie Has a Lesson

    Episode 206 of “The Cinephile Hissy Fit” Podcast — Every Movie Has a Lesson







    PODCAST: Episode 206 of “The Cinephile Hissy Fit” Podcast — Every Movie Has a Lesson

























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  • The Netflix Characters Everyone’s Dressing Like in 2025 — Every Movie Has a Lesson

    The Netflix Characters Everyone’s Dressing Like in 2025 — Every Movie Has a Lesson



    Wednesday Addams from the show Wednesday is the Netflix character whose style is copied the most with 4,884,650 monthly searches tied to her fashion. The black dresses, white collars, and moody visuals have clearly become more than just a costume, they’re a full-blown trend.

    Portrayed in The Crown, Princess Diana comes in second with 643,810 monthly searches. Her look channels vintage luxe and what many call an old money vibe. Her 80s and 90s staples, like pastel suits and classic knits, have found new life with fashion-forward audiences.

    Daphne from Bridgerton is third, drawing 613,330 monthly searches with her feminine, fairy-tale regencycore style. Flowing empire-waist dresses, pastel tones, and ornate detailing bring a fantasy element that makes her wardrobe a favorite among fans looking for elegant escape.

    Emily Cooper from Emily in Paris ranks fourth with 502,610 monthly searches. Her outfits are bold and full of personality, think bright prints, designer bags, and dramatic layering. Her fashion choices may be over the top, but that’s exactly why they stand out.

    Stranger Things’ Eleven’s look has changed over time, and her evolving style keeps fans interested. She ranks fifth and gets 145,440 monthly searches. Early on, her outfits had a tomboy feel. Later, she adopted more vintage 80s styles that viewers now see as cool and collectible.

    Eddie Horniman from The Gentlemen, comes in sixth, and brings 79,280 monthly searches with his relaxed but stylish wardrobe. Think countryside jackets, textured fabrics, and simple layers. It’s a grounded look that gives off confidence without being flashy.

    In seventh, Ruby Matthews from Sex Education, picks up 59,090 monthly searches for her confident, fashion-forward style. Her wardrobe is all about bold pieces, tight fits, and standout accessories. It’s a modern version of the classic popular-girl look.

    Another character from Emily in Paris, Sylvie Grateau, gets 57,090 monthly searches, mostly for her sharp, minimalist fashion and ranks eighth. She wears clean, tailored pieces in muted tones, exactly the kind of wardrobe that says power and elegance without trying too hard.

    In ninth place, the third Emily in Paris character Camille Razat pulls in 36,300 monthly searches with her softer, more understated French style. Her outfits are simple and sleek, making them easier to wear in real life. They give off that effortless vibe people often associate with Paris.

    Maeve Wiley, the second Sex Education character finishes the list with 18,040 monthly searches. Her look is bold in a different way, with dark clothes, chunky boots, and a hint of punk. It’s the kind of style that stands out without needing color or flash.

    A spokesperson from Kaiia commented on the study: “Streaming characters are setting real-life fashion trends. Viewers aren’t just watching, they’re searching for these outfits and using them as style guides. This shows how much influence on-screen wardrobes can have, especially when they offer something bold, nostalgic, or aspirational.” 



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  • Bring Her Back + Directors Danny and Michael Phillipou | The Naked Gun | Naked Gun (1988)

    Bring Her Back + Directors Danny and Michael Phillipou | The Naked Gun | Naked Gun (1988)


    Orange background with white text "TRUTH & MOVIES" and film stills showing people in various scenes, including water and indoor settings.

    On the show this week we discuss Bring Her Back and speak to its delightful directors Danny and Michael Phillipou. The spoof returns in The Naked Gun, and for Film club we revisit the original Naked Gun.

    Joining host Leila Latif are Charles Bramesco and Katherine McLaughlin.

     

    Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.

     

    Email: truthandmovies@tcolondon.com

    BlueSky and Instagram: @LWLies

     

    Produced by TCO



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  • The Most Popular Disney Characters — Every Movie Has a Lesson

    The Most Popular Disney Characters — Every Movie Has a Lesson



    1. Moana (90.29)

    Moana claims the crown with an impressive 90.29 popularity score, proving that newer Disney characters can absolutely compete with decades-old classics. Her 1 million monthly searches and massive 3.4 billion YouTube views show she’s resonating powerfully with both millennials who saw the film as adults and Gen Alpha kids discovering her story. The character’s empowering message and catchy soundtrack have made her a social media favorite, generating viral TikTok dances and covers of “How Far I’ll Go.”

    2. Snow White (83.84)

    Despite being Disney’s first princess from 1937, Snow White secures second place with 83.84 points. Her 1.22 million monthly searches – the highest search volume in the top 10 – proves that nostalgia is incredibly powerful online. Recent buzz around the upcoming live-action remake has undoubtedly boosted her digital presence, reminding audiences why she started the Disney princess phenomenon.

    3. Elsa (79.73)

    Elsa rounds out the top three with 79.73 points, riding the wave of Frozen’s cultural dominance. Her 3.9 billion YouTube views – the highest in the rankings – reflect the viral nature of “Let It Go” and countless fan covers, parodies, and reaction videos. While her search volume is lower than others, Elsa’s YouTube dominance shows how one iconic song can create lasting digital impact.

    4. Mickey Mouse (77.45)

    The OG Disney character Mickey Mouse holds strong at fourth place with 77.45 points. His 27.6 million social mentions – by far the highest in the study – demonstrate his status as Disney’s ultimate brand ambassador. From memes to merchandise posts, Mickey’s ears appear everywhere on social media – proving that some icons never go out of style.

    5. Stitch (73.88)

    Stitch rounds out the top five with 73.88 points, powered by an astronomical 76.1 million social mentions. The blue alien has become a Gen Z and millennial favorite, appearing in countless memes, aesthetic posts, and TikTok videos. His rebellious personality and cute-but-chaotic energy perfectly match social media culture, which makes him incredibly shareable content.



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  • The Naked Gun review – not just more rebooted IP…

    The Naked Gun review – not just more rebooted IP…



    A good comedy must be funny; this shouldn’t be a debatable statement, and yet it would seem that as of late, too many studio efforts in the genre are making an effortful case for the contrary. Consider the earners of recent vintage: even in determinedly labeled comedies, humor is the pleasant diversion that greases the proceedings while we behold the CGI-laden stunts of Dwayne Johnson and Kevin Hart, gape at the immaculate visages of Glen Powell and Sydney Sweeney, or ponder the confining roles of womanhood with our pal Barbie. The platonic ideal of a comedy as a machine that extracts laughter — and that the best comedy would necessarily be the one that operates at maximum capacity along these lines on a minute-to-minute basis — is not pursued nearly as doggedly as it should be. 

    Luckily, for Earth and its people and everyone who will live in the future, Detective Frank Drebin Jr. stops for nothing when he’s in hot pursuit. Not pedestrians. Not unfortunately placed beehives or clutches of helium balloons. Nothing.

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    In keeping with the tradition of the Zucker-Abrahams-Zucker brain trust’s original cop-on-the-edge spoofs, the rebooted Naked Gun condenses a staggering volume of jokes into a svelte sub-hour-and-a-half length, to the point that the question of whether any one gag works on you becomes immaterial. In about five seconds, there will be more daffy wordplay, more pratfalls, more left-field pop-culture references proudly long past their expiry date. The by-any-means-necessary bit barrage crams sight gags into the corners of frames, the credits, the infinitesimal space within edits. In a film that nobly aspires to everything being funny at all times, anything can be, the chief benefit of director Akiva Schaffer’s attention to and appreciation for the elements of cinematic form. You’ve got to be smart to be this stupid.

    The virtuosic schtick construction meets a worthy match in the leads, two exemplary instances of unexpected yet inspired casting that play on the actors’ preexisting screen personae just as the original tapped hard-nosed Leslie Nielsen for deadpan self-parody. As Drebin the Younger, Liam Neeson is god’s perfect boob, fully locked into the sweet spot between unearned confidence and bone-deep idiocy where comedy flourishes. (As is essential for any performer trafficking in levity, he jumps at the chance to make himself look like a fool, not least in the profoundly satisfying line of dialogue that lays out the gerontocratic subtext of the rampaging-oldster pictures on which he built his career’s second act.) And as his femme fatale/right-hand gal Beth – known also by her undercover moniker, Ms. Spaghetti – a resurgent Pamela Anderson reveals unforeseen reserves of brilliant comic acumen, the depth of her commitment undeniable in an exquisitely silly musical interlude or a minute-long tangent involving dark magic, a snowman, and a samurai sword that gives this film its successor to Popstars immortal offscreen bees” flight of absurd fancy.

    When the opening minutes introduce a doohickey labeled P.L.O.T. Device,” it’s an announcement that the actual case at hand is little more than occasion for bountiful setups and punch lines, though the timely edge is hard to miss in a tech-visionary villain (Danny Huston) pushing shoddy electric vehicles. But like many of the Elon Musk stand-ins peopling Hollywood productions in the years since Iron Man, any overtures to satirical critique fall flat due to the difficulty of replicating Musk’s weird combination of awkwardness, spitefulness, and neediness. Ultimately, Huston’s nefarious Richard Cane is just another megalomaniacal billionaire; in spite of this, it’s still pretty refreshing to see him punched in the gut.

    Perhaps this one aspect sticks out because the rest of the film is so markedly not yoked to its moment, at once unfashionable and eternal in its evocation of a century of madcap Jewish yuks, from the Borscht Belt to MAD Magazine to Mel Brooks. The imperative is simple, unchanging, and absolute: make em laugh, make em laugh, make em laugh. The Naked Gun is a volume business, and it succeeds by seriously heeding the sentiment presented sarcastically when applied to Drebin and his greying-badass ilk. Sometimes, the old ways really are best; a good pun is forever.





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  • The Bad Guys 2 — Every Movie Has a Lesson

    The Bad Guys 2 — Every Movie Has a Lesson







    MOVIE REVIEW: The Bad Guys 2 — Every Movie Has a Lesson























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  • Elio review – a touching treaty on the search for…

    Elio review – a touching treaty on the search for…



    We first meet Elio Solis (Yonas Kibreab) curled up beneath a booth table of a diner inside a museum. He’s a bit younger than he will be for most of the film, painfully shy and still reeling from the recent loss of his parents. His Aunt Olga (Zoe Saldaña), recently and unexpectedly appointed as his guardian, is struggling to adjust to her new role. While she’s momentarily distracted by a colleague, Elio slips away and stumbles into an immersive exhibition on the vastness of space – an otherworldly encounter that will alter the course of his life forever.

    What follows is a deep obsession with the existence of alien life. Though Elio is no longer shy per se, he remains socially awkward and has difficulty forming friendships, not necessarily because his peers dislike him, but because he unintentionally distances himself from them. He harbors the belief that one day aliens will abduct him, but he’s reluctant to share. Several reasons underlie Elio’s intense longing to leave Earth: a desire to escape the painful memories of being orphaned; a hope to encounter beings who defy conventional norms, and a yearning to discover a life beyond the ordinary limitations of Earth.

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    After getting into a fight, Elio is picked up by his Aunt Olga and reluctantly brought along to the military base where she works. Curious and defiant, he follows her into a restricted meeting, only to discover that aliens have sent a message to Earth. Hiding in a nearby rubbish bin until the room clears out, Elio seizes the moment. In a burst of desperation and hope, he records a message of his own, pleading to the life forms on the other end and sharing his dream of one day joining their world.

    Not only do the extraterrestrials receive Elio’s message, but they also respond. Fulfilling his wildest dreams, they abduct him and bring him to the Communiverse, a vast interplanetary alliance home to countless intelligent species. But here’s the catch: because Elio was the one to answer their signal, they mistakenly believe he is the ruler of Earth. Eager to impress the council of ambassadors who govern the Communiverse, Elio assumes the role and does his best to live up to the title. When Lord Grigon (Brad Garrett), a warlord of the planet Hylurg, threatens the very existence of the Communiverse and no one else dares to negotiate, Elio rises to the challenge, determined to protect the one place he finally hopes to call home.

    It’s no surprise that as a literal child, Elio would fumble the negotiations, only managing to further enrage Lord Grigon. While secretly plotting his escape, he encounters Glordon (Remy Edgerly), the silk-worm-like prince of Hylurg and Grigon’s son. Adorable, naïve, and impossibly sweet, Glordon is the polar opposite of his father. He agrees to return to the Communiverse, initially as a pawn in the larger diplomatic game that Elio refuses to back down from, but what unfolds instead is a heartwarming friendship between two young outsiders who, for the first time, begin to feel at home, by each other’s side.

    There are moments when the film feels slightly clunky, as if certain story elements either needed more time to develop or should have been simplified. This is most evident in the middle act, where the concept of the Communiverse, while imaginative, begins to feel overcomplicated. The same applies to its visual design – sometimes less truly is more. The abundance of colors and shapes, though ambitious, ends up blending into a stylistic blur. That said, the animation remains as technically impressive as audiences have come to expect from Pixar.

    The first act of the film is exceptional and joyous to watch. Just as compelling is anything involving the friendship between Elio and Glordon, which ultimately becomes the emotional core of the story. What truly makes the film special is the remarkable voice work from young actors Yonas Kibreab and Remy Edgerly, who bring their characters to life with striking authenticity. Their performances are rich with passion, vulnerability, and emotional nuance, conveying everything from childlike curiosity to profound longing. It’s through their voices that the film’s heart beats strongest, grounding its fantastical world in something deeply human and moving.

    There’s an undeniable charm to this film that makes it easy to be dazzled by. From its deeply lovable lead characters, who you can’t help but root for, to delightful surprises like a perfectly timed Talking Heads needle drop and effortless moments of humor. But what makes it truly special is its heartfelt exploration of universal themes like grief, loneliness, and the deep human desire to belong. It’s the kind of story that stays with you, gently reminding us that no matter where we come from, we’re all just searching for connection.

    To keep cel­e­brat­ing the craft of film, we have to rely on the sup­port of our mem­bers. Join Club LWLies today and receive access to a host of benefits.





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  • The Decadent Splendour of The Great Beauty

    The Decadent Splendour of The Great Beauty



    This feature is the second in our summer series, La Dolce Vita: A Celebration of Italian Screen Style, in partnership with Disaronno.

    Not once during Paolo Sorrentino’s sprawling urban symphony, The Great Beauty, does Jep Gambardella (Toni Servillo) ever hop in a car. Walking is the man’s only means of travel – an occupation and a spiritual imperative. Bedecked with an endless collection of blazers, pocket squares and two-toned brogues, the 65-year-old one-time novelist-turned-occasional reporter saunters into the film as a flâneur, strolling aimlessly around Rome in a state of heightened receptivity to all the stimuli of its streets. 

    The world reveals itself to those who travel on foot,” Werner Herzog once mused, and so it is for Servillo’s professional wanderer, who doesn’t seem to live in so much as commune with the city. No walk is ever wasted, every corner hides something strange: a nun picking oranges from a tree; a child whispering from inside the crypt of a Renaissance temple; a giraffe in the Baths of Caracalla. 

    Sorrentino trades a tourist-friendly travelogue for a more disquieting, entrancing journey, and that’s his primary achievement. The Great Beauty makes a familiar place seem new and surreal; it’s that rare film that’s susceptible to the magic of things that often go unnoticed. 

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    Like Federico Fellini, whose 1960 film La Dolce Vita stands as The Great Beauty’s undisputed touchstone, Sorrentino was not born in the Italian capital but moved there in his youth, and he immortalises it with the look of an outsider stunned by all its riches and mysteries. This is his fifth feature lensed by Luca Bigazzi, who here traffics in the same elegant crane and dolly shots that marked their earlier collaborations. 

    But where the sinuous camera movement in 2008’s Il Divo and 2011’s This Must Be the Place might sometimes register as ostentatious, in The Great Beauty form is entirely in service of the story. As the camera glides in and out of churches, palazzos and rooftops, Sorrentino conjures a magpie curiosity for the world that dovetails with Jep’s own journey: a man who gradually awakes to the splendour that surrounds him, and turns it into a source of creation.

    Still, Sorrentino’s love for Rome is not reverential. Throughout the film there are moments – a man washing his face on the monumental fountain on the Janiculum hill, a woman reading a newspaper huddled next to a statue – that seemed designed to demystify its centuries-old architecture. Enthralled by the city as he unmistakably is, Sorrentino captures it not as an inert backdrop, but a place that exists in symbiosis with its residents. 

    For a work haunted by death – one that opens with a fatal case of Stendhal Syndrome – The Great Beauty accrues a life-affirming power. If there’s anything truly decadent in Sorrentino’s universe that’s not Rome and its weathered monuments, but the fatuous, navel-gazing aristocrats Jep fritters time with. It stands to reason that his wardrobe – replete with the fedoras and brightly coloured jackets of a mid-century dandy – should set him apart from the more sombre outfits of those around him. 

    Like everything else in this spell-binding film, Daniela Ciancio’s costumes aren’t beautiful for beauty’s sake, but suggests a vitality that befits the story of a rebirth. Their old-fashioned charm is in keeping with Sorrentino’s grand design. The Great Beauty isn’t a mere elegy for lost time; it’s a tribute to an ancient, more open way of travelling through and looking at the world.

    To find out more about Disaronno’s 500-year anniversary* celebrations, visit dis​aron​no​.com, and join us at Regent Street Cinema on July 4 and 5 for special free screenings of The Great Beauty and La Notte, with complimentary cocktails from Disaronno.

    *1525: The legend of Disaronno begins.





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  • The Fantastic Four: First Steps + Ralph Ineson | What Does That Nature Say To You | The Green Ray (1986)

    The Fantastic Four: First Steps + Ralph Ineson | What Does That Nature Say To You | The Green Ray (1986)


    Orange background with white text "TRUTH & MOVIES" podcast logo. Three film stills below: woman in kitchen, man by lake, person in red jacket with flowers.

    On Truth & Movies this week, we discuss The Fanastic Four: First Steps and spoke to its star Ralph Ineson. We then review the latest Hong Sang-Soo film, What Does That Nature Say To You and finally, for film club, revisit The Green Ray.

    Joining host Leila Latif are David Jenkins and Kambole Campbell.

     

    Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.

     

    Email: truthandmovies@tcolondon.com

    BlueSky and Instagram: @LWLies

     

    Produced by TCO



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  • “Life, Liberty, and All the Rest of It”: Reading…

    “Life, Liberty, and All the Rest of It”: Reading…



    Where Kaye, her proper” WASP-wife analogue, is a blonde, college-educated school teacher who (at least at the outset) loves Michael unconditionally, embodying both familial innocence and a New World” kind of feminine consumeristic contentment (she’s shown buying Christmas presents, organizing trips, going to the theater, getting ready to settle down with Michael), To Die For goes out of its way to stress that Suzanne is only partially educated (“junior college” her father reluctantly admits), and anti-maternal, a seducer of school children, a would-be working woman destined to failure by her own vanity and shallowness. As the previous quote suggests, many reviews continually emphasized Suzanne’s lack of intelligence – or, per National Review, just the right amount of dumbness” – and it’s this dimwittedness, paired with an overdeveloped sense of elitist entitlement, that leads to Suzanne’s ultimate demise. Vaguely feminist emotions stir in my breast,” David Denby wrote of this aspect of Suzanne’s character (somewhat ironically given his own misogynistic description of the character), Henry and Van Sant have hallowed [her] out, as if an ambitious driven woman needed to be exposed as a jerk. What would happen if Matt Dillon were the ambitious one?” he asks. Well, he might have been Michael Corleone. 

    At the same time, Suzanne is no Kaye either. While Kaye’s WASPy purity and innocence frame her as a potential oasis of all-Americanness for Michael, Suzanne’s surface-level similarities to Kaye are framed as a sterile trap for Larry. She’s so pure and delicate” Larry initially marvels, comparing her looks to a fragile china doll, You just have to look at her and you wanna take care of her the rest of your life.” But Suzanne doesn’t want Larry’s care, she wants independence and success, and she will kill to get it, despicable in part because the movie posits she was never smart enough to make it. When Larry asks whether she wants kids, Suzanne spits, If you wanted a babysitter you should’ve married Mary Poppins.” She’s bewitching, but deadly, a feminine monster who’s repeatedly associated with witches through cuts to Bell, Book and Candle on TV in the background and the use of Donovan’s Season of the Witch’ at the film’s conclusion. Like a witch who enchants men for her own purposes, Suzanne is hyper-performative and über-pragmatic, using the racist, classist, elitist logics of television as her yardstick for life. 

    Suzanne views her doll-like ice queen” beauty as a means to an end, weaponizing her status as an avatar for the televisual beneficence Kaye types typically represent. She religiously preserves her pallor (or her pure” whiteness in contrast to what she calls the ethnic” disadvantages of anchors like Connie Chung), constantly tries to lose the five pounds the camera adds, and wears her pastel miniskirts and kitten heels like an army uniform, no matter how schlubbily her coworkers may dress for the office. She tells everyone around her to optimize” themselves to succeed,” and finally uses trailer trash” teens to kill Larry. Lacking the excuses Michael has for his actions, she weaponizes the familiar narrative true crime tropes her Kaye-like exterior offers – innocence and victimization – turning them on her husband and drawing the cameras she so desperately craves in the process. Who are they gonna believe?” she asks primly, I come from a good family.” One review put it this way: What jury would convict such an attractive and popular TV weather girl? (ask O.J., he’ll tell you).” 

    Only Larry’s sister, Janice (Illeana Douglas), sees through this delicate façade, calling Suzanne an ice queen” and a four letter word: C‑O-L‑D, cold.” Where Michael Corleone’s signature coldness is presented as an extension of the American capitalist imperative, Suzanne’s status as an ice queen” is presented as a monstrous extension of that all-American medium of New World” modernity, television. In this sense, Suzanne’s relative coldness” is her defining characteristic and the principle that unifies the film’s themes – as Marshall McLuhan suggests, television is a cool medium, mesmeric and passifying, and, icy though she may be, it’s her avidity,” her passionate desire to make it (her failure to truly embody Michael’s businesslike New World” mentality) that fails her. She looks very fragile and delicate right?” Larry tells Janice when they start dating, But when we’re– when I’m… the details are too graphic, but she’s like a volcano.” 





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