Costume Party: In Praise Of ‘Carrie’ And Lonely Teenage Girl Fashion


Does blood wash out of silk?

Brian De Palma's 1976 Stephen King adaptation, Carrie, is an icon of horror. What better time than Halloween to explore the fashions of this scary and deeply sad portrait of teenage loneliness? Maybe it's silly to talk about fashion in a film that famously opens with a shower-set nude scene. But De Palma is a master of not just stylized, split screen-filled thrillers, but also of fashion. Many of his films, from Body Double to Blow Out and Scarface, feature memorably over-the-top outfits. In Carrie, the fashion isn't quite so outré, but it captures the moment and demarcates the social differences between shy, troubled Carrie White (Sissy Spacek) and her peers.

Carrie, to put it mildly, isn't like other girls at her high school. Her classmates all wear bell bottom jeans or flowing skirts. They're all casually dressed and ultra-'70s in their style. Carrie, on the other hand, looks like she could've come from the '50s, with her cardigans and commitment to modesty.

Carrie's fashion sense is an extension of the film's central tragedy. These conservative outfits are likely the choice of her abusive, religious mother (Piper Laurie). At times, Carrie looks like she might drown in her oversized sweaters. Carrie sews, and it's telling that the dress she makes herself for the horribly fated prom night is a pale, classically pretty but more revealing than usual slip dress—a dress which, of course, prompts her mother's infamous comment about "dirty pillows." Even when Carrie makes her own outfit, building a fantasy for herself, she is still hemmed in by fundamentalist insanity and the cruelty of her peers, until she gets her telekinetic revenge as the dress is rendered unrecognizable by blood.

In the film's eeriest fashion moment, Carrie home from prom night, washes off the blood and changes into a long, prim nightgown. Her mother, also wearing a long nightgown, attacks her, and she fights back. The nightgowns match in an unsettling cultish way, and it's clear that Carrie, more than ever, needs to break free of this relationship, and the mandated clothes that come with it.

Compare this to the other matching clothes we see in Carrie: Carrie's tormentors are often seen in their gym uniforms, which are school-mandated but revealing. Carrie can't slip on a gym uniform so easily.

Carrie's chief tormentor, Chris (Nancy Allen) has no qualms about wearing a halter top to school. Carrie, meanwhile, shields herself. Her stack of books may as well be a part of her outfit.

Carrie's homemade prom dress, then, holds a world of possibility. This could be the dress that frees her, that lets her feel confident. We see her smile wearing this dress. Carrie may still be shy, but in this unforgettable, terrifying denouement, she's wearing what she wants for perhaps the first time. Knowing that Carrie made that dress makes the scene even harder to watch. She doesn't find love in this dress, it ends up ruined and she kills people in it. Fashion doesn't ultimately provide a path to freedom and happiness for Carrie, though we desperately wish that it would.

Screenshot via YouTube

The band shared details about their new St. Vincent-produced album that will drop "you into the world of catastrophe"

Sleater-Kinney just shared more information about their St. Vincent-produced album and dropped a new single.

Per Billboard, Sleater-Kinney revealed that their new album, which they've been teasing since early this year and will be their first since No Cities To Love from 2015, will be called The Center Won't Hold. It's due out on August 16 via Mom + Pop Records. "We're always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person—ourselves or versions of ourselves or iterations of depression or loneliness—in the middle of the chaos," Carrie Brownstein said in a statement. Corin Tucker further noted that the new album will "[drop] you into the world of catastrophe that touches on the election."

Janet Weiss noted that the band will "explore a different sound palette" with this album, and pointed to St. Vincent as the reason behind it. She said that St. Vincent "has a lot of experience building her own music with keyboards and synthesizers so she could be our guide to help us make sense of this new landscape and still sound like us."

To satiate us until then, the band released a lyric video for new single, "The Future Is Here," which is very grungy. Bump it, below.

Sleater-Kinney - The Future Is Here (Official Lyric Video)


This is so satisfying!

Even Jon Snow knows just how unsatisfying the final season of Game of Thrones was, and he's ready to apologize. Well, a deepfake of him is at least. A heavily-edited version of Snow's speech from the fourth episode—just before the bodies of those lost in the Battle of Winterfell get burned—now features Snow apologizing for the conclusion of the show and lighting the script on fire.

"It's time for some apologies. I'm sorry we wasted your time," Snow begins. "And I know nothing made sense at the end. When the Starbucks cup is the smallest mistake, you know you fucked up! We take the blame. I'm sorry we wrote this in like six days or something," he adds, before signaling to his peers to light the script with torches and "just forget it forever." "Fuck Season 8," he says before the pages begin to crackle and burn.

If there were more lines left to alter, we would have loved to see Snow also tackle how messy Brienne of Tarth and Jaime Lannister's story line ended up, as well as Bran's kingship, Cersei's boring demise, and the water bottle appearance.

Watch the entire deepfake and try to heal the wounds left by HBO below.


Photo by Darren Craig

It premieres today, exclusively via NYLON

In LP's song "Shaken," the most recent single from her 2018 record Heart To Mouth, she tells the story of seeing her lover out with someone else—ouch. Today, exclusively on NYLON, she releases a cheeky animated music video that pokes fun at the song's heightened drama and perfectly demonstrates all the angst that comes with falling hard for someone.

"She looks at you like I used to/ And I'm just sitting in the corner sh-sh-shaken," LP sings, as the visual—with art by Maayan Priva—depicts the singer hanging out in a bar, watching the girl she likes meet up with another girl. Despite the situation's inherent drama, "Shaken" is less of a ballad and more of an upbeat bop. LP told us she loves the way "this little video captures some of the fun of the song, and its inherent comical anxiety." Sure, heartbreak isn't that funny, but our (sometimes) overly dramatic reaction to it kind of is.

"'Shaken' feels like a bit of a wild card on this record," LP says. "It's the closest I've come to writing a musical, which I hope to do one day." We heartily endorse this idea: Please, LP, give us the queer jukebox musical we crave.

Until that day comes, though, you can watch the music video for "Shaken," below.

Asset 7
Photo courtesy of Sony Pictures.

This cameo has the Beyhive buzzing

I went to see Men In Black: International alone. Which would have been fine if it wasn't for the shock I received when I saw two specific characters on the screen. Unable to keep it to myself, I shared a curious look with the stranger next to me, who was obviously thinking the same thing as me. "Is that them...?" I whispered first. "I think… so," she replied. Then the two men in question started to dance, and we were both sure: "Yep, that's them."

It was Laurent and Larry Nicolas Bourgeois, better known as Les Twins. Fans of Beyoncé will recognize the duo as the talented brothers who often accompany her on tour and in music videos. In Men In Black: International, the two of them play shapeshifting entities—they're more like energy forces than aliens—who pursue Tessa Thompson's and Chris Hemsworth's characters throughout the duration of the film. The twins' ability to manipulate their bodies in ways that are graceful and otherworldly really helps sell them as extraterrestrials and is fun to watch.

So if Thompson in a suit or Hemsworth shirtless weren't enough motivation, here's another reason to go see it. If you look close, you can see them in the trailer below.


Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

"I am honored to share this bonding experience with my own daughter"

In a heart-warming Instagram photo, Serena Williams shares the history of hair braiding and the importance of the tradition. The tennis player shared a photo of herself braiding her daughter Olympia Ohanian's hair and spoke about how "honored" she was to be able to "add another generation" to the tradition of the practice.

The photo shows Williams attentively braiding her daughter's hair while Olympia smiles, obviously loving the experience. Williams noted that hair braiding was created by the Himba people in Namibia, Africa, and that "we have been braiding our hair for centuries." "In many African tribes braided hairstyles were a unique way to identify each tribe," she continued.

Williams pointed out that braiding is a bonding experience. "People would often take the time to socialize," she wrote. "It began with the elders braiding their children, then the children would watch and learn from them. The tradition of bonding was carried on for generations, and quickly made its way across the world."

Williams closed her post with a sweet message about her daughter, saying that she's "honored to share this bonding experience" with her.

See the post, below.