#gary jones

[mizgnomer]

Convention Crowds - with David Tennant - Part Two (and the Cheerful Podcast recording’s crowd)

Link to [ Part One ]

[rhetthammersmithhorror]

Spiders | 2000

[salchat]

Gary Jones, aka Walter Harriman. Charcoal abs a little bit if pastel. Another one ready for the Basingstoke Comic Con.

[lihiominaa]

STARGATE SG-1 S08E04 | Zero Hour

[grownups-are-the-real-monsters]

[morezelenka]

[spockvarietyhour]

Hank Landry and his love of Doctor Phil in “Counterstrike”

Bonus:

[stargatelover]

Here's some of my photos of the Stargate convention in Chicago from this weekend! It was such a great weekend. Definitely a smaller turnout than usual but between Covid and the price of gas I'm not surprised. I almost didn't come. But it was tons of fun! The cabaret was a blast. David Nykl read a scene from SGA, Tony Amendola read some stories, Dan and Alex did a game show, and Colin Cunningham did an amazing mentalist/magicians show that blew my mind.

The panels were so interesting and fun and I loved when the actors crashed each others panels. Teryl joined Amanda's and they reunited Turleen and Minnie which was hysterical. David called Paul McGillion to ask why he wasn't there but we got his voicemail so we left him a message.

I got photos and autographs I treasure, I got to meet some cool people, see some great cosplays, and of course meet the stars of SG1 and SGA! It was great! I plan on posting some more detailed stuff later once I go through all my photos and notes.

Please don't repost my photos anywhere

[nenyc]

NCIS | 20x09 - Higher Education

[colettevbellerose07]

If I made a Jonesy x reader would anyone read it? Imma do it anyways I’m just curious

[scoobydoomidnightblue]

So I just officially finished Dreamcatcher and I’ve come to the conclusion that it’s not gay until the minds touch.

Ignore how beat up it is, i got this copy from my local haunted used bookstore, but here it is being once again relinquished to my Stephen King shelf.

This book has fucked with me many times. It has caused me immense pain. I am way too attached to the characters. I miss Beaver. I have started chewing on toothpicks instead of picking my skin. I am thinking of changing my name to Jonesy. Help. But also don’t help, I am fine. It’s over. The aliens have been defeated.

Goodnight shit-weasels. SSDD.

[badmovieihave]

Bad movie I have Stargate SG-1 The Complete Tenth Season 2006 , 2007

[denimbex1986]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Were any pieces particularly difficult to get right?

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

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

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

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

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

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

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

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

[grownups-are-the-real-monsters]

IT/Dreamcatcher crossover: Beaver is Reddie’s son

[By me & @m-o-o-n-thatspellsblog } 

Going with the ‘IT’ films timeline where the Losers are 12/13 in 1989. The Dreamcatcher gang would all be born around 1995ish. Richie & Eddie adopt Beaver when he’s around 3 years old. 

In this AU, the first Pennywise cycle in 1989 has happened but that’s all!! Pennywise never returned! 

In all honesty, none of the Losers expected Richie & Eddie to have kids, and neither did they! But as they grew in their relationship, they both realized they wanted to share their love and raise a child together. 

Richie had no idea how much he actually wanted to be a Father until the thought was out there but once they discussed it, Richie put his whole heart into it. 

Eddie really wanted to raise a child in a healthy environment and do better for his child than Sonia Kaspbrak ever did with him.

So they end up adopting little Joey Clarendon! 

Very quickly, this kid becomes their whole world. This very clumsy, loud-mouthed, short & funny little kid. 

Joey is the perfect mixture of his Fathers, who always make sure their child is supported and loved. 

He is raised on classic rock and monster movies! 

When Joey gets a little older and finds his friend group, Richie & Eddie always welcome them into their home and find it very hard not to get nostalgic. 

Richie & Eddie continue to surprise themselves by becoming the ‘classic’ suburban parents who stock up on snacks for their son & all his friends.

But both boys know how important friendship is to a young child and encourage their son. 

Richie is always concerned for Joey because he sees so much of himself in him. He motivates his son to be loud & be himself but finds it hard not to fear others criticizing or discouraging Joey the way adults did to him when he was a kid. 

Eddie, having experienced the pain of an overbearing and unsupportive parent, desperately wants Joey to feel encouraged to make connections and try new things. 

The kids are always at their house. Making a lot of noise and running around the backyard. The sound of their combined laughter makes Richie & Eddie’s hearts swell! 

Pete, Henry, Jonesy & Douglas think of Richie and Eddie as their second set of parents! 

Joey gets to that phase where he insists his parents use his nickname & call him ‘Beaver’ too. Richie is cool with it but Eddie can’t stop calling him Joey. 

Richie teaches Beaver how to do some amazing impressions and of course, how to mess with Eddie. 

The Losers are all living apart but have all visited at different points and know Beaver. 

Beverly is convinced the two of them figured out how to have a biological child together because Beav is just like them. 

Bill overhears Beaver being a little spitfire and can’t help but think of his little friend Eddie. 

Ben built a treehouse for Beav and his friends. 

Though Beaver later fell out of the treehouse and broke his arm. Ben, taking this personally, came back just to build a rail to ensure safety.

Beaver is constantly getting accidentally injured or getting into hi-jinks at school. 

There was a particular incident where Beaver was trying to avoid running the mile at school and lied about having asthma. The school called Eddie to confirm and he nearly had a heart attack for a second. 

Beaver grows up with Maggie & Wentworth as his wonderful grandparents. Eddie, who tries hard to stay out of his Mother’s life, will not allow Sonia anywhere near their home. 

I could go on forever.....................

[gatecast]

William Shatner Lent me his Hairpiece

[thotteus-beaumont]

Somebody please do a South Park Dreamcatcher by Stephen King AU because there's so much potential. They fit that ridiculous horror with odd comedy so well.....

I don't know the South Park characters well enough to draw who'd be who out of the characters but somebody out there does SO👀

I could see Kenny as Beaver...

Maybe Stan or Craig as Pete...

I don't know! The ships from Dreamcatcher might have to be changed around for the sake of this specific AU?😬